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TEXTILE DESIGNERS' 



Pocket Manual 



BY 

WALTER SCOTT 

M 



THIRD AND ENLARGED EDITION. 
PRICE $1.00, 



Published by **••' 



AIRICAN WOOL AND COTION REPORTER 

Frank P. Bennett <^ Co., Publishers 

530 Atlantic Ave., Boston 
2 Rector St., New York 

308 Chestnut St., Philadelphia 

208 Corcoran Building, Washington, D. C. 









Copyrighted, 
FRANK P. BENNETT & CO., Inc 

1912 






//.vTO 



:?Q 



(gCLA343063 



K^ f 



CONTENTS 



Pages. 

280 distinct weaves with the diameters 
and full warping and weaving particu- 
lars for each in 5 to 7 different weights 
in each weave and in all the following 
fabrics, viz. : worsteds, cassimeres, 
tweeds, cheviots, unions, tweed, dress 
fabrics, cotton and silk 9-60 

Rules for fabrics and interlaces 61-73 

Tables of diameters used for all the above 
fabrics in weights from 4 to 16 ounces in 
all weaves from plain cloth to 8 and 10- 
harness twills; also for double cloths in 
cassimeres, worsteds, cottons and silks 74-84 

Rules for binding 2 or more fabrics 85 

Widths to set different fabrics in reeds.... 85 

Tables of yarn rates 86 

How to find size of 2 or more laid together S7 

How to find size and shrinkage of 2 or 
more twisted together 87 

Sample of range ticket 89 

Rules for numbering yarns, ranges, etc.. 89 

Rules to find weights of ranges, shrink- 
age, etc 89-90 

Rules for finishing cassimere ranges 90 

Rules for finishing worsted ranges 90 

Rules for finishing worsted ranges light 
weight cloaking 90 

Rules for finishing worsted ranges heavy- 
weight cloaking 91 

Rules for finishing tweed ranges 91 

Rules for finishing cheviot ranges 91 

Rules for finishing dress goods ranges... 91 

Rules for finishing melton ranges 91 

Rule to find diameter of runs, cotton 
worsted, cuts and skeins 92 

Rule to find runs, etc., from diameter 92 

Rule to find diameters to use for different 
number of harness 92 

Rule to find diameter to use for different 
weights in same harness 93 

Rules for figure weaving in various fabrics 93 

Rules for canceling harness biy cross 
drawing 93-94 

Rules for transposing in various ways 94-95 



Publishers' Announcement. 



These chapters on textile designing 
were published in instalments in the 
AMERICAN WOOL AND COTTON 
REPORTER, beginning with the issue 
of November 17, 1910. The author, Mr. 
Walter Scott, formerly of Cornwall, 
Ont.. intended that they should be 
gathered together and bound in the 
form of a small pocket manual, and we 
have therefore issued them in the 
present form, which will be found con- 
venient for every day use. 

Copies of this v^crk will be sent, 
postage prepaid, to any address, on re- 
ceipt of one dollar at any of our offices, 

FRANK P. BENNETT &- CO., 

Publisher. 



INTRODUCTION 



As this work is intended for the de- 
signer alone, I liave confined myself 
"Chiefly to that department. Designing 
is probably the most ancient of all the 
arts. Primitive man, as we understand, 
designed and made his first garment in 
the garden of Eden. We find as time 
moved on that the innate vanity of 
the human species began to show it- 
self in the addition of various orna- 
ments to the dress, and thus begun, 
designing has been more and more 
developed as ages have rolled by, 
each designer showing his individual- 
ity in the construction of innumerable 
articles designed for useful and orna- 
mental purposes; and textile design 
has ever been a leading art. As a 
witness thereof, take the tapestries 
of the Middle Ages, some of which 
show most artistic conceptions in de- 
sign and execution; also take the 
shawls of India. Consider the pres- 
ent age. How much less satisfactory 



6 TEXTILE DESIGNERS' 

would life be without the beautiful 
fabrics which are originated in the de- 
signers' brain, and produced by the 
loom. How much less attractive 
would be woman without the beautiful 
creations of textile art that aid in her 
adornment. Art in the form of silkS; 
velvets, laces, etc., will make the most 
plain attractive. It may be stated^ 
therefore, with good reason, that tex- 
tile designing is really the oldest, and 
at the same time, one of the most im- 
portant of the arts. 

A true designer must of necessity? 
have a creative fancy, else where 
would he originate his designs? He 
also must have a natural taste, I will 
not say for the beautiful alone, for the 
sublime, the grotesque and the ugly 
have their places in man's creative 
fancy as well as the beautiful, and 
each has its own votaries, but a natu- 
ral taste for one or the other is essen 
tial to the designer, I believe that a 
good deal of the art of design can be 
accpaired, but to have it in perfection, 
or at least as near perfection as man 
ever reaches here below, it must be 
inborn and then cultivated. 

It is a source of pain to see how this 
art has degenerated in textile fabrics, 



POCKET MANUAL, 7 

more especially on this continent. It 
is a disgrace to the name of designer 
to be reduced to the mere level of 
copyists, as is the rule rather than 
the exception in America. I am pub- 
lishing this work not as a help to 
such, but in the hope that the practical 
rules, etc., contained herein, which 
have been gained by practical experi- 
ence in Scotland, England, Canada 
and the United States, may be of 
some value to the true born and as- 
piring designer just starting out on 
life's work. That he may herein find 
help to overcome some of the diHi- 
culties that beset us in our profes- 
sion, and help to again raise our art 
to its proper place in the world, is the 
earnest wish of 

The Author. 




CHAPTER 1. 



DESIGN PLATES. 



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roCKET MANUAL. 



11 



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12 



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53 



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POCKET MANUAL. 



IS 



61 

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DBBBBBBDBGGDGDDGGB 
GGDGGGBGBBBBBBGBGD 
BBBBBGBGGDDGGDGBGB 
GGGGBDBBBBBBDBDDDD 
BBBGBDGGGDDDDBDBBA 
DDBDBaBBBBGBGaDDDG 
BDBDGDDDDGDBDBaBBB 
BGBaBBBBGBGDGGDDDD 
■DDDDDGDGaaiHBBBD 



66 

GGGGGBDBBBBBBGBDDn 
BBBBGBGGGGDDGGBGBB 
DGGBGBBBBBBGBGGGGD 
BBGBGGGGGGGGBDBBBB 
DBGBBBBBBGBGGGDDGG 
GBGGGG GGGBGBBBBBB 
GBBBBBBGBGDGGDGDDB 
DDGGGDGGBDBBBBBBDa 
BBBBBDBDGGDGDGDBGB 
DDDDDDBDBBBBBBDBDD 
BBBGBGGGGGGGGBGBBB 
GGDDBDBBBBBBDBDGDD 
BGBGGGGDGDOBDBBBBB 
GDBDBBBBBBGBDGGGOD 
BGDDDGDDOBDBBBBBBD 
BDBBBBWIQBDGGDaGGD 
GGDODDDinMBBilPBa 



14 



TEXTILE DESIGNERS' 



67 

■■■DaaaaBaHBBBBaBDaDHaBa 
nannaaaDanDnnDDnaDanaaDn 
BBBBBnaDBaBBaaBaaaaaanaa 
DDaaDaaaaDaanannnnaaaaaa 
aaaaaaanaaaDaaaaaaaaaaaD 
a jDnnnnnaaanaDannnnaaaan 
aaaaaaaaanaaaaaaaaaaaaaD 
anaDDaDnnaanaaaDannnnDaD 
aaaDaaaaaaaaaaaaaaaaaaan 
aaaDaDnnnanaananaDDDnnnD 
aaaDaaaaaaaaaDaaa~:iaaaaaa 
anana aaanaDnnaaaaaDnaan 
aaaDaDaDaaaaaaanananaaaa 
nnnnanaDaannDaanaaaDanan 
aaaaaaaoaDaaaaaaaDaDaaaa 
DDnnnnananannaaDDaaDanan 
aaaaaaaDanaDaaaaaaaaanvD 
anaaDanDaDanaannnannaaaD 
aDaaaaaaananaaaaaaaaanan 
aaannnDnnnanaaanDDDaaDan 
anaaaaaaaaaDananaaaaaaan 
anacanDnDDDnanaDanDnnnna 
aaaGaaaaaaaaaaaaaDaaaaaa 



68 

nnanananannL. 
aaannaaaaaaa 
DnDDDDanaDaa 
aaaaaaaDnaaa 
aDnnaanDanaa 
aaaaaaaaaaaa 
ananDD'Tanaaa 
anaaaaaaaaaa 
aDaDaDnDDDDn 
anaoaaaaaaaa 
nawnaDaDDDDa 
aaaaaaaaaaaa 

69 

aanaaaanaaaa 
aaaaaaaaaaaa 

Saaaaaaaaoaa 
aaaaaaaaaaa 
aaaaaaaaaaaa 
aaaaaaaaaaaa 
aaaaaaaaaaaa 
aaaaaaaaaaaa 
aaaaaaaaaaaa 
aaaaaaaaaaaa 
aaaaaaaaaoaa 
aaaaacr 



70 

■aaaaaaaaaad 
aaaaaaaaaaaa 
aaaaaaaaaaaa 
aaaaaaaaaaaa 
aaaaaaaaaaaa 
aaaaaaaaaaaa 
aaa aaaaaaan 
aaaaaaaaaaaa 
aaaaaaaaaQaa 
aaa aaaaaaaa 
n aaaaaaaaaa 
■aaoaaaaaaaa 



71 

aaaaaacaaaaaaaaaai 

aaaaaaaaaaaaaaaar " 

aaaa aaaaaaaaaaaai 

aaaaaaaaoaaaaaaaii 

aaaaaaaa ~aaaar 

a^aaaaaaaaaar _ 

nanaaaaaaaaaaaL . __ 

ar^aaaaaaaaaaaaaaa: 

naaaaaaaaaaaaaaaaa 

aaaaaaaaaaaaaaaaaa 

oaaaaaaalaaaaaaaao 

oaaaaaaaaaaaaaaaaa 

aaaaaaaaaaaaaaaaaa 

aaaaaaaaaaaaaaaaaa 

aaaaaaaaaaaaaanaaa 

aaaaaaaaaaaaaaaaaa 

aaaaaaaaaaaaaaaaaa 

aaaaaaaaaaaaaaaaaa 



78 

aaaaaaaaaaaaaaaaaa 
aaaaaaaaaaaaaaaoaa 
aaaaaaaaaaaaaaaaaa 
aaaaaaaaaaaaaaaaaa 
aaaaaaaaaaaaaaaaaa 
aaaaaaaaaaaaaaaaaa 
aaaaaaaaaaaaaaaaaa 
aaaaaaaaaaaaaaaaaa 
aaaaaaaaaaaaaaaaaa 
aaaaaaaaaaaaaaaaaa 
lOaaanaaaaaaaaaaa a 
aaaaaaaaaaaaaaaaaa 
aaaaaaaaaaaaaaaaaa 
aaaaaaaaaaaaa aaaa 
aaaaaaaagaaaaaanaa 
aaaaaaaaioaoGanaaG 
aaaaaaaaaaanaanaa* 
■■■■■■■nanaaaannaa 




73 

aaaaaaaaaaai 
aaaaaaaa laanaai 
naaa~iaaaaaar 
aaaaaaaraaa:_ 

anaaaaaaaaaiaL 

aaaaaaaaaaaaaaaaaa 
aaaaaa aaaaaaaaaaa 
aaaaaaaaaaaaaaaaaa 
aacaaaaaaaaanaaaaa 
aaaaa aaaaaaaaaaoaa 
aaaaaaaaaaaaaaaoaa 
aaar^aaaaaaaaaaaar^o 
oaaavaaaaaaaaaaaaa 
raaaaaaaaaaaaaaaaa 
aaaaaaaaa aoanDaai 
aaaaaBBaaaaoaaDoaa 
BBaBGaaaaGaaaagBBi 



POCKET MANUAL. 



15 



74 

OHDananDoaaBHHBBaB 
■■■■■OBaaDDDDnanBB 
DaaaDDDBDaBBaaaaaa 
aaaoanDDDQaDaaaaaa 
DDDDDaDaaaaaaanaDa 
aaaaaaacDDanaaaaaa 
DanaDaaaaaaaaaaaDD 
aaDDaanDaaaaaaaaaa 
DaDaaaaaaaraDDaaDD 
DanaaDaaaaaaaaaaaa 
aaaaaaaananaDDncDa 
DaanaDaaaaaaanaoDD 
aaaaaaaaaaDDDDDaaa 
DaaaaaaaaaaDaDDnDD 
aaaaDaaDDGDDaBDaaa 
BGaBaaaaaaaDannDan 
aaaiaaaDDDDanaaaaa 
■aaaaaaaaaDGDaaaaa 



75 

DDDDDDaaaaesaBBBBaa 
aaaaaaanDaaDaDBOBB 
aaaDDacBBBaaaaaaDa 
BaaDaaGDaDDaaDaaaa 
DGGaGaaaaaaaGaGGGO 
aGBDDDGGGDaoaaaaaa 
GaaaBBaaaaaBUGGGGa 
aG aoDGGBGaaaaaaaD 
aaaaBBaBGBGaaGGQGB 
GGGGnGaGaaaaaaaaaa 
aaaaaaGaGGOGGGGana 
GGGGaGaaaaaaagaaoG 
aaaaGaaaGGaDaaGaaa 
GaanaaaaaaaGaDOGGD 
aaGaGGoaGGGaGaaaaa 



76 

DDaGDBGaaaaaBBDaaa 
aBaaaaaGGGGGGaaGBB 
DGQaGaaaaaaaGaGGGG 
aaaGaGognG GaGaaaa 
DaGaaaaaaaGaGGGGGG 
aGaDGGGGGGBoaaaaaa 
GaaaaaaaaaGGGGGGoa 
aGGGQGGGaGaaaaaaaG 
aaaaaaaaGGGGOGGaGa 
DG DGGGaGaaaaaaaGBG 
aaaaaaGGOGGGGaGaaa 
GGGoaGaaaaaaaGaaoG 
aaaa. GGOGOGaGaaaaa 
DGaGaaaaaaaoaGGGGG 
DaGGGGGGGaaaaaaaaa 
BGaaaaaaaGanGGGGGD 
aGGGGGGaGBaaaaaaGB 
■aaaaaBGaGGGGGGGaa 



77 
OGaaaBBBaaaaaBanDa 

BBBaBGBGGGGGGGBGBB 
GaGaaBBBBBGBGGGaD ) 
aaaGBGGGGGGGBGBB«B 
GBBBaBBBGaGGGGGaGB 

BGarGGGQaGBGaaaaaa 
aaBBBBGBGGGaGaGaaB 
aGGGnGGaaGBaaBBBBa 

BBBBGBGGGGGGGBaBBB 
GGaGGGBGaaaBBBBGBD 

aaaaaaaaGaaBaaaBaB 
GaGOBGaaaaaBBGaGGG 

GBGGGGOGDaGaaaBBBB 

GaBGaaBBBBanaGGGaD 
nGGGGGGaGaaaaaaaGB 

BGBaaaaBBGBGGGGGGG 

GGGaaBGaaaaBaBGBGG 

BBaaBBBGaGGGGGGGBG 



78 

DGBBB 

SQGB 
BBG 
BGGBB 
"^IGD 



79 

BBGBBGGB 
BGaaGGBB 
GBBGGBBB 
BaGGBBBG 
aGGBBBGB 

GaaaBGBB 

GaBBGBBG 
BBBGBBGa 



80 

DGGBBBB 

BBBGGGB 
GGBBBBG 
BBGGGBB 
DBBBBGG 

BGGaaaa 

BBBBGGa 



81 

BBBGQOa 
BBGGGBB 

BGGGBBa 
GGGBBBB 
GGBBBBG 
GBBBBGD 

aaaaGGD 



8/3 

DOGGBBBBB 
BBBBGGGnB 
GGGBBBBBG 

aaaGGGGBB 
GQaaaaBGG 

BBGGGnBBB 

^aaaaaGGG 
fGGaaaaBB 



83 

BBBBGGGGB 

aaaGGGGBB 

BaGDGGBBB 

BGaGGBaaa 

QaGGBBBBB 

GGGBaaBBG 

GGMaaaBGG 
DaaaaaGGa 
■■■■■oaoQ 



84 

DDDrai 

BBBBBGGDGGB 
GGGGBBBBBBa 
BBBBGGGGGBB 

BGaBBBBBBOn 
BBGOGGGBBB 
GaBBBBBBGaa 
BBGGGGGBBBB 

aaBBBBaaooB 

BGGDGGBBBBD 

■muaooLia 



16 



TEXTILE DESIGNERS* 



85 

oannnBaBBaa 

ODDDBBHBaa 

aaaBBBBBBan 

GDBBBBBBaoa 
GBBBBBBaaua 
■BBBBBDDaaa 
■BBBBDDDGDB 
■BBBaDDQGBB 
■BBODDDaBBB 
■BanODDBBBB 

■aaaaDBBBBB 



86 

ODnODDaBBBBBBBB 

BBBBBBBoaaaaanB 
anaaDaDBBBBBBBa 
BBBBBBDnnna dbb 

DaDaaBBBBBBBBCa 
BBBBBQG DDDDBBB 
GaanBBBBBBBBOua 
■BBBDODDaaDBBBB 
aDDBBBBBBBBaODD 
BBBDOaaODaBBBBB 
DDBBBBBBBBDDaOD 
BBDDOaDanBBBBBB 

GBBBBBBBBaDnaaa 

BDOaGaaGBBBBBBB 
BBBBBBBBDaODDGD 



87 

GaaOnnGBBBBBBBB 
GOGOGGBBBBBBBBG 
□OQDGBBBBBBBBGG 
GGGGBBBBBBBBGGG 

GGGBBBBBBBBGGGG 

OGBBBBBBBBGGGGG 

QBBBBBBBBGGGGGa 

BBBBBBBB^^DGGGGG 

■BBBBBBGGDGGGGB 

■BBBBBDGnDGGDBB 

■BBBBG' GGGGGBBB 

■BBBGaGGGGGr- 

■BBGGQDnGGBI 

■BaGGLinaGBBI 

■aaDDDDai " 



88 

OBGBBBB 

BBBGBDB 
BGBBBBG 
BBGBGBB 
GBBBBGB 
BGBGBBB 
BBBBGBG 

89 

BBBGBGB 
BBGB BB 
BGBGBBB 
GBGBBBB 
BGBBBBG 
GBBBBGB 
BBBBOBD 



90 

□BBGBBBHB 

BBBBGBBGB 

a^GBBaaan 

BBBGBBGB99 

BGBBBBBGfi} 
BBGBMGBBU 
GBBBBBGan 
aaBBGBBBCJ 
BBBBaaBBG 



91 

OBBGBBBBB 
■BaBBBBBn 
■GBBBBBGB 
OBBBBBGBB 
BIBBBBGBBG 
■BBBGBBGB 
■BBOBBGBB 
■BDBBGBBB 
■GBBGBBBB 



9S 

naBDOBBBBBB 
BBBBBGGBGGB 
GBGGBBBBBBG 
BBBBGGB' 'GBB 
BGGBBBBBBGD 
BBB! ^GBGGBBB 
GGBBBBBBOPB 
BBGGBGGBBBB 
DBBBBBBG'^ BD 
BGGBGGBBBBB 
BBBBBBGGBGG 



93 

BBBBBGGBDDB 
BBBBGGBGGBB 
BBBQGBGGBBB 
BBGGBGGBBBB 
BG BGGBBBBB 
GGBGGBBBBBR 
GBGGBBBBBBG 
BGQBBBBBB^ a 
GGBBBBBBGGB 
GBBBBBBGGBG 
BBBBBBGQBGD 



94 

□OnaDGGBBBBBBBB 
■BBBBBBGGGBGGGB 
OaanDGBBBBBBBBG 
■BBBBBGGGBGGQBB 
-OBGGGBBBBBBBBGG 
■BBBBGGGBGriGBBB 
iGGGBBBBBBBBGGG 



BGBBBBBBBBGGGBG 
BOGGBGOGBBBBBB 
OBBBBBBBBOGGBGO 
OBDGBGnaBBBBBBB 
■■flMBBIBDQDiaa^ 



95 

IBBCGGBCDDB 
■BG GBGGGBB 
JGGGBGGGBBB 
IGG^BGGGBBBB 
BBB GGBPGGBBBBB 
BBPGPBGGGBBBBBB 
BPGGBGGGBBBBBBIS 
GGGB G""BBBBBBBg 
DGBGGGBBBBBBBga 
UBGGGBBBBBBBGGG 
BPGGBBBBBBBBGGG 
DGGBBBBBBBBOGGB 
DGBBBBBBBB: ]GGB J 
GBBBBBBBBGGGBGO 

■■■■■■■■aaaiooa 



POCKET MANUAL. 



17 



96 

tUHBBDnHM 

■■nDHSDa 
■■iaaaBDD 

■DBMDDaa 

■■■anaana 
■DaaaMDai 
nBaaaaasD 
■■aMaoDB 



97 

■■aDaaani 
aaanaaagg 

r^aaaaaaig 

naainGaai 

Doaaaar — 

aasaaDDi 

aDa«aanL 

aanaaaDGi 



^ai 



08 

agnaaiDll 




99 

oaaaaanaaaa 
aaaaaaaaaaa 
DBvaaaaaaaD 
aaa«naa~'naa 
aavBanaaaaD 
aanaaaanv^a 
aaaaaaaaaDD 
anaaaainaaa 
aaannaaaaaa 
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too 

■annaaaanaa 
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BD iBaaanaaB 
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■Daaaaaaaaa 



Daaaaa3i«ai_ 
naaaaaaiaan 



iDaaaaaa 
■aaaaaiaiar 
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laa 

_^iaa 

iGoanaaa 



101 

aannaaaanaa 
aoaaaaaaaaa 
nDaaBBDaBaa 

DBBBaDBBBBn 
BBBBDaBBBDn 
BBBaBBBBDDB 

aaaaBBBDDBi 

gnBaBBaDBii 
BBBBDDBBii 

BBBBGaaaaiO 

BBaDDBBBBQa 



109 

DDDB 4 

Dnaa' 
oaaa s 

aaaa i 

1 2 
3 4 



103 

nnna « 
oann a 

naaa s 



104 

nana * 
oaaa 8 
nana a 

1 2 3< 



105 

ononni e 

Dnnnap s 

□aaaai * 
aaaaii i 

13 3 
4 6 9 



106 

onaoQi 



107 



« ananna « aaaa 



108 

DnannDDa 
naDDDDan 4 
ncannBaa 



100 

8 Doannnna 8 

nnnanDna 4 
7 nanaDDaa i 
8 nDaannna « 




12 3 4 9 6 



1 i il 4 B 6 



llO 

ODDnnDDa 8 
naaaanaa 7 
caaanaaa & 
oaaaaaaa & 
onaannnn ♦ 
onaannna 3 
naaaanaa a 
fliaaaaaaa i 

12 3 4 5078 



111 

nnoDna « 
Donnan 4 
onnaan a 
onaaaa & 
DBoaaa 3 
innaaa i 

8 4 

6 6 



113 

nnonna « 
□noann 4 
nannnn a 
naoBBB i 

DBBBDa 8 

aagana i 

1 2 f 4 5 8 



113 

nmaaa 
Daaaaa 
oaaaan 
caiaaa 
Daaaaa 
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114 

□aaaaa « 
anaaaa 4. 
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1 2 
8 4 
« « 



115 

aoaaam 
raamaa 
Daaaaa 
Daaaaa 
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aiaai 



116 

RSSSSS 

aaaaaa 
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aaaapD 
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18 



TEXTILE DESIGNERS' 



117 

DDDDDDDnB 9 
DDDDDDaHa 6 

naDaDDHDD 3 
annnDHBaH » 

DDDDBnBBB 5 
DDDBDaBBB ^ 
DDBBBBBBB 7 
DBDBBBBBB * 
■ □OBBBBBB 1 
I 2 3 
4 5 6 
7 8 9 

120 

DDDDnnODB B 

□DDDnaDBa a 
DDnaanaaD a 
nDaDaaaaa a 
aaDBanaaa b 

OaDBDBBBB B 



118 

nnnnDDDDB 
nnDDDannn 
DDBDnnaDQ 
aaBDaaaaa 
nnaaaanna 

DBBDaaDDB 
aBBDBBBBB 

aaBBBaaaa 
BBBaaBDaa 



119 

nnannDDD 



8J 



ID 



IDI 



nnacnac 

DaBDBBBBB 
DDaDDBJDn 

DDBDaanca 
aBBaaaaaa 
DDannDDna 
DaannaQDa 
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a ■ 



a 
a 



a ■ 



121 

naDDnnDna 
DDDDDanna 
DDaDonaaa 
DDBDaaDaa 

DaBDBBDaa 

Diaaaaaaa 



IDI 

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122 

DDDDDnDDa 

^aaaaaaaa 



Si 



DaDDGaDDD 

naaaaanaa 
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DDaaannan 
aaannaoaa 
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123 

DDDaaaaa 
laa 



8 



DDDnaL 

DDDaaaaa * 
DDDDaaaa 2 
DDsaaaaa ? 
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aaaaaaaa -i 
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T 2 
3 4 

6 .6 
T 8 



124 

DDDDDaaa 
D(5aaDaaa « 
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12 3 4 6 6 7b 



125 

DDDD ana 
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126 

DaaaDDoa 

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127 

DaaaaaDB _i 
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8 



128 

DDDaaaaa 
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papaaaaa 
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129 

DpaaaaDDDaaa . • 
DDaaaaaDaaag . » 
DDDaaDDDaana . » 
DDDaDDDaaDDa s 
DDDDaaaaaaaa . • 
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Daaaaaaaaaaa > 
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Daaaaaaaaaaa , > 
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BDDBaBBBBaaa 1 

18 8 
IS* 
1 fl • 
1 ^ t 



POCKET MANUAL. 



130 

DDaannDnBDDB ^ « 

DQnaDBDGBDDa , « 

GaaanBaDDDna , « 
oaaaagnDnnaB a 
onBaaiQBBDBB „ " 
aaaaBaDBaaaB , « 

OBBGBaaDBOGa . 6 
GBBGGBGGBGBB 2 
OBBGBBBBBBBB , 10 
GBBBBBBBBGBB ^ 7 
BBBBBBGBBGBB , 4 . 
BBBGBBGBBBBB 1 



131 

GaaaaaaaBGGB 

GGBGGBGBBGBB 
GBBGBBBBBBBB 
GGnGGBGOaGGG 
GGBGBBQBBGGB 
GBBBBBBBBGBB 

GGBGnBGGGaaa 

GBBGBBGGBGGB 
BBBBBBGBBGBB 
aaBGGGGGGGaB 
GBBGGBGGBaBB 
BBBGBBGBBBBB 



13/3 

aaaGGGGGBD . w 
GGGGGGBaaa . « 
DGaGaaDDGB • 

OGGDaanBDG ♦ 
GaGaGBDDnn a 



B^BBBBBB' 
■BiiaBBBB 



1 



10 



133 

GGGGGGaBDa >0 

GGGBaaaGGG 8 

GGGaaDGGGB • 

GGaaGBnaaa ♦ 
GBnaGnGGGap 

BBBBBBGBBB • 
BBGBBBBBBB T 
BBBBBBBBGB • 
BBBBGBBBBB S 
GBBBBBBBBB 1 
1^34 69; 8 vio 



134 




135 

GGGGGGBB B - „ - 


GnaaaaGBGG 


10 


GGGGGGBB B 136 


BBBBBBGBBB 


9 


GGGGBBGa B GGGGGBaB 


GaGBaaDDaa 


8 


GGDGBBDaB GGGGGBGB 


BBGBBBBBBB 
GaGGGaGDGi 


T 


GGBBBBBB B GBGBGDDG 


6 


GGBBBBBB B GBGBGGGGI 


BBBBBBBBGB 
GaGGGBGGaO 


6 


BBGGBBBB B GBGBBBBB 


4 


BBGGBBBBB GBGBBBBB 


BBBBGBBBBB 


8 


B B BBBBGBGB 


GBGGGGGGGG 


2 


B B BBBBGBGBI 


GBBBBBBBBB 

13 V i 5 «i r» WlU 


1 


B B 




■ ■ BBBBBBBB 






138 






nGGGGGGGGBBB 






CGGGGGGGBBBG 






GGGGGGGBBBGa 






GGGGGGBBBGGG 1 






QCGGGGBBGGGB B 






naaGGGBGGaBB b 


137 




GGGBBBBBBBBB 
GGBBBGBBBBBB 


OGGGGBGB B 




GBBBGGBBBBBB 


GBGBBBBB B 




BBBGGGBBBBBB 


GGGGGBGB B 




BBGGGBBBBBBB ■ 


GBGBBBaB B 




BGGGBBBBBBBB ■ 



GBGBGGGG 
BBBBGBGB 
OBGBGGGG 
BBBBOBaB 



20 



TEXTILE DESIGNERS' 



139 

nnaDDDQBnBDB 

QDDnp«Q»P»DD 

DaaBDBaBDnaa 

DiDBDDDDDnDB 

DBanDnDDaBDB 
aBoaaaBaaaaa 
aaaaaaaaaaoi 
Daai 



laaaaDaDi 
laaoaaaai 



■aaaaaaaai 
■aaaaaDBBaaa 



140 

□DpnnDDBDBDB 
DaDaaBBBBBBB 

DDDnDBDBDBDG 
DBaBBBBBBBOB 
DDDBDBaBDaDD 
DBBBBBBBaBDB 
DBLiBaBDDDDDn 
BBBBBBDBDBDB 

DBaBDDDaaaDB 

BBBaOBOBOBBB 

DaDonnaDDana 
BaaaaaDBBBBB 



141 

DDDnnDDaaaaa 
DnnDnananaaa 
DnaDnnnanaaa 
nnnDDDaaaDDa 

ODDDDDaaaDDD 

DaDonnaaaann 

aaaaaaa 

DDDBaaa 

DDDBBaa 

BBBDaoa 

BBBDDaa 

BBBDaai 



142 

DnnDDDnanaaa 
CDDDDanaDaca 
DDaaDDDinana 
DaaaDaDDnaaa 
DaDaDaDriDDnzi a 
DaaaaaaDnDDDa 
oaoaaaaaaaaa 
Daoaoaaaaaaa 
naaaoaaaaaaa 
loaoaga 
iDanana a 
iDBoaaaa 



143 

nnnnnDDananB 
Daaanaaaaaaa 
DDonnnaanaDa 
Daaaoaaaaaaa 
DaDDannaaaDa 
aanaaaaaaaaa 
nanananDDDDD 
aaaaaaaaoana 
naaaDananDDa 
■aaaaaDaaaDa 
nananaangnDn 
■aaaaaaadaaa 



144 

DnDDDDDDoaaa 
DananDDDaaaa 
nDCDaDDaaann 
DODDDDaaaDDg 

DnDDDDaaDDDB I 

DDODnnaannaa a 

DoaBaaaaBaaa 

naaaaaaaiaaa 

oaoaaaaaaaaa 

aaaoooaaaaaa 

aaaoooaaaaaa ■ 

aaaaaaaaaaaa ■ 



145 

DDnDDOoaoaaa 

gODOoaoaoaan 
DoaoaaaDODO i 
DaoaDaooDDDD ■ 
oaaaoooooDoa ■ 
DaooDDoaoaoa ■ 
oaoaoaaaaaaa 
aaoaoaaaaaaa 
oaoaoaaaaaaa i 
aaaaaaoaoani • 
aaaaaaoaoapi ■ 
■aaaaaoaaaaaiv 



146 

DODDDDDaOaOB 

oaoaaaaaaaaa 
DooDDaoaaaoa 
oaoaoaaaaaaa 
ODoaoaoaoDOD 
oaoaoaaaaaaa 
oaoaoagoDDoa 
aaaaBBoioaoa 

DBOBOOOOOOOB 

■BaaaaoaoBOB 

DBOOOOOOOBDa 

■BaBBBaBaaaB 



POCKET MANUAL. 



147 

DDDDOOnnDODDBBBB 

DDDOnnDDaaQBBBBD 
DDDDDDnpaDitBBBnn 

BDDDDDnnDBBBBDPD 
DDDDDDDBBBBDnaa 
QaDDDDDDBiBDDDDB 

□DDQaaanBBnnnnr ~ 



DDDDaDnDBDnDDBBB 
IBBB 



DDDDL 

DOaBBBBDBBBBBBBB 
aaBBBBDOBBBBBBBB 
IDBBBaaaDBBBBBBBB 
BBBBaODDBBBBBBBB I 
■•BDaODBBBBBBBBB B 
BBDapdBBBBBBBBBB B 
BDOadBBBBBBBBBBB B 



X48 

enpppaDnDBnBDBDB 
DaaDaDBDBaBDBDa 
DaDDnBaBDBnBDDna 
nDDBnBgBDBaaaDaa 

DBaBDiBBDOnDDDna 
DBnBnBDDDDDDDDDB 
aBDBDDDDDDDDDBnB I 

□Bgai3aDaaaaBaBaB b 

OBDBDBDBBBBBBBBa 

'-' IB 
3B 

1 



SBBBBBBBDBDBDani 
BBBBaaBaBDBDBBB 

BBaBOBOBaBBBBBBl B 



pnpDpnntjgBDBpBnB a 

aaOBDaDBlBBBBBBB B 

pDnnannaDBaanaDn a 

qBaBaBBBBaBBBBaa a 

DBpBBBBBBBBaDBDB B 

"""iDBDaaaaDDnna ^ 




BBDanDDDDDaDDL 
.^BBBaBDaaaaaai 
igapaaDDgaDDBdi 
iBBaaaaDBaBaaaa 
.jQDDnDDDaDaaapa 
iBOBPaPBPBaaaaba 



25- Tj:XTILE DESIGNERS' 



150 

DDDgaDoaDBBnnnBB 

DDDaDDDaaaDBBDBB 

DgDaaaaa«aaa»«a« 
DaamaQaaBBaMaa 

nDagDDaa«a«Baaa« 

DnaaQQDDBBDBBDaa 

DDDcaBaa«HGc:aB«D i 

oaaoaBBBaaaaaaaB 

DaGQaaaaaaaaaaaa 

aoaaaaaaaaaaaaaa 

oaaaaaaaaaaaaaaa 

Daaaa aaasaaaaaa 

aaaDDBDaj" 

aaaoaooi 
aaaaDDai 



161 

□DnananDDnDaDaaa 

DGaDDCDBDaDDDaaa 

QacacDaaaaDaaDDB 

DuGaaBDaDBDagnaa 

DaaDDBGacaQaQaaa 

DaDDDaaaDDDaanaa 

DBDBDDaaDanaanna 

□aDaaDDacaaaaaaa i 

aaGBBaaaaaaaaaaB 

aaaaoaoaaaaaaBaB 

BBGaaBBBBaaaaaaa 

DaGBBBaaaaGaaaaB 

aaaaaaaaGaGBBBaB 

BBaBaaGBaaaaaacM 

BaaaGBGBaaaaoBBB 

BBGaoBBBaBar 



162 

nDDBDanaaaDDnana 
□aGaaaaaGaaaaaaa 
DGGaaGaaaaDGDaDa 
DaaanaGaaaaaaaGa 
DaDGaaaDaaaaaGaa 
BaoBGaaaaaaaaaaa 
DDQaaaaaaaaaGGna 
oaGaaaBBBBGaGBBB 
DDaGGanaaGDaaaDD 



oaaaaaaaDaGaaaDB ■ loS 

DaaaaaaaaGaaaaaa ■ Dnaaaa 

■aaaaaGaoaBBGaaa a Qoaaio 

DBaaaGDaaaGagnng ~ 

BaBBaaaaaiaaaaBi 



oaaaDDaGaGaaDBaa 

BBDaGBBBDaaBBaBB 



■nn— 1 



4» • 



POCKET MANUAL. 



23 



154 


155 


^ODDDB • 


DDDDnBS 


DDBaDD 8 


DDBBBBS 


IDBHMB f> 


DBBBOB^ 
DDBDDaa 


aSBBOB 4 


BBBDDB i 


BBaaaB> 


f ?f ?f f ' 


????Pf 



156 

aaaDDDDBB 

aDDCDDDBBD • 

HaaDnDBDB s 
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pBGGDnBQaaGaaB 
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DGGGDBBGGBBBGB 

aoaaBGBBBGGBaa 
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POCKET MANUAI^. 

234 

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jaaBaDaaBaDDBBBBBaDgBaaaaBBBBBBD 

GaBQDaaBDDDBDDaaBBBiaBBBBBBDGDDO 

aBDDnaBDDDBaaaaaaBBBBBBDanaBBBBB 
BDaDDBaDaBDaDBBBBBaaaGDaaaBBBBBg 

aDDDBDaDaaBBBBBBDaaaaaaDBBBBBDDB 

DaDBaaaBBBBBBDoaoaaaaBBBBBaaDaBO 

DDDnBBBBBBnDaaaaaBBBBBDDDnBDDBDg 
anBBBBBBaaaDDQBBBBBDD ' BanaDBBDOQ 

iDDDaaDBBBBBnaBDnDBaaarnDDf 



CjJBBDDBBDDBBaDBBDDBBDDBBaaBBaaBB 
DnBBDaBBaDBBDOBBanBBDaBBaaBBaaBQ 
BBaaBBDDBBaOBBaaBBDaBBDaBaaDBBOp 

■BaaBBDaBBaDBBDaBBaaBBaaBBaaBBDa 

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■ DM 

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Si 

■ ua 
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■■ 82 

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■BBGBGGlGOBGGOaDBGBa 

gbbbqgbQgbcgcmigbgbgb 

BDBBGBGnBaGGBGBGBGBa 
GBGBBGGBGGGBGBGBGBQB 
BgGBBGBaGQBGBGBGBaBG 
GOaBBBGGaBGGGBGBOBGB 
GGBGBBaGBGDGBaBQBDBC 
GBGGBBGBQtXlBGBGBGGSB 
"GGBGBBGGGBGGBGBOaBG 
GBQaBBGGBaQGBaBOBQB 

.BaBBaBGBaaaBaBGBBBG 

BOGBGOBaGGGBGGBGCiB-IB 
PaBaGGBBGaBGaGBDgBBG 
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22 



TEXTILE DESIGNERS' 



■ ma 

m OH 

■ BO 

■ am 

m aa 

■ OH 

■ ma 

■ °i 

■ aa 

■ am 

m ma 

m am 

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m am 

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, JDaDDHDOBDDnCDH 

' DDDaBBBBODaDBaOBBa 

oaaaBBBBOQDaaBBQPB 

laBBBBDQDDGHBDia 




_ JOBBBBDaDDBaaBDL 

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227 

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naaaBGaGaaaaaaBi 

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POCKET MANUAL. 



33 



229 

■■■■DDaDDBnaaaaa 
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mmmmaaDDDmamamam 

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230 

aaaaGaaaGana 
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naGanaoaaaaa 
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naaaDoaaaaaa 
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231 

ma w 

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ma " 





233 . 


234 


236 




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236 

aaaaaaaaaaanaaaa 
oaaaaaaaaaaaaaaa 
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237 

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238 



oao oao 


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laa 2. 

laa 



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240 

paaooaaaaaaa 

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aaoaaaaaoaaa 

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T|:XTILE DESIGNERS' 



241 

■aDDanHBBGBa 

DaGaoanaHaaa 
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DC}na:::n«naHaa 
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242 

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243 

GGGaanc:nBBB« 

GCGGnnnOBBBB 
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nC3::3C]BBBBGGGG 

BBaBGGGG:::c::^a 

BBBBGGGGCiQaa 



244 

BBGBBBBBGBBBBGGBGBBGGBGBGGGGGBGGGGGV 
GGGGBGaGGGBGBGBBBBBGBBBBGGBGBBOGBDBB 
GBGBBGGBaBBnGGGBaGGGGBGGGBBBaBDBBBBB 
BBBBBQBBBBBGBGBBQGB ' BBGGGGBGGGGaBGGa 
BGBGGGGGBi'iGGGBBBBGBBBBBGBGBBOGBGBBGGB 
BBGGBGBBGGB 'BGGGGGBGGGGGBBBGBBBBBGBB 
BGGBGBBGGBDBGGGGGBGGGGGBBBGBBBBBGBBB 
BGBBBBBGBBBBBGBGBBGGB~'BBGGGGBGGGGGBa 
OGGBGG GGBGGGBBBBBGBBBBBGBOBBDGBGBBa 
BGBBGGGGBBGGGGBGGGGGB OGBBBBBDBBBBBG 
BBBBGBBBBBGGGBBnGBQBBGGBGBGG^'iG BOGGO 
BGGGGGBGGGG' BBBGBBBBBGBBBBQGBGBBaaBG 
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DGBGBBGGBGBB GGGGBGG Or»GBGBBBBBGBBBBi 
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DGBGGG "iGBGG IBBBBBOBBBBpGBaBBDGBGBBOG* 
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245 

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247 

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246 BGaGGGaGGaGBBBBB 
aGGGBBBB BGaGaaBBGGGBGBGO 

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GDHDBBBB BGBBBBBGGBGBGGGU 

GGGGBBBB GGBGBGGGBBBBQBGB 

BBBBGCHG BBBBBGBGGBGGGGGV 

BBBBGGaO BGBGGGGGBBGBGBBB 

BBBBOGGG GGGGGBGBBBBGBGBB 

BBBBGDOa GBGBBBBBBGGGGGBQ 
GGGBGBGGBQaaBBiB 

gbbbbbgbgggSbgbq 

GBGBGGGGBGBBBBBp 
BBBBGBGBGGBGBGGO 
GBGGGGGBBBBBBGBO 
PBQaQBBBBGBaOGGO 



POCKET M A XUA 1 .. 



35 



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252 



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mmmmaoa 
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253 

nnBaa«ncBnnBnn»naBGa«3«B 
DBDaaaDBaaBaaBaaBnGiDBaB 
BaGBacBnaBaaBDGBaaBGaBBG 
GGBGaBaGBaaBGGBnaBaaBGBB 

QBGGBGGBGGBGGBGGBGGBGBGB 
BGGBGGBGaBGGBGGBGGBGGBBG 
GGBGGBGBBGBBGBBGBBGBBGBB 
GBGGBGBGBBGBBGBBGBBGBBGB 
BGGBGGBBGBBGBBGBBGBBGBBG 
GGBGGBGBBGBBGBBGBBGBBGBB 
GBGGBGBGBBGBBGBBGBBGBBGB 
BGGBGGBBGBBGBBGBBGBBGBBG 
OGBGGBGGBGGBGBBGBBGBBGBB 
GBGGBGGBGGBGBGBBGBBGBBGB 
BGGBGGBGGBGGBBGBBGBBGBBG 
OGBGGBGGBGGBGBBGBBGBBGBB 
GBGGBGGBGGBGBGBBGBBGBBGB 
BGGBGGBGGBGGBBGBBGBBGBBG 
GGBGGBGBBGBBGBBGBBGBBGBB 
GBGGBGBGBBGBBGBBGBBGBBGB 
BGGBGGBBGBBGBBGBBGBBGBBG 
GGBGGBGBBGBBGBBGBBGBBGBB 
GBGGBGBGBBGBBGBBGBBGBBGB 
BGGBGGBBGBBGBBGBBGBBGBBG 
GGBGGBGBBGBBGBBGBBGBBGBB 
GBGGBGBGBBGBBGBBGBBGBBGB 
BGGBGGBBGBBGBBGBBGBBGBBG 
GGBGGBGBBGBBGBBGBBGBBGBB 
GBGGBGBGBBGBBGBBGBBGBBGB 
BGGBGGBBGBBGBBGBBGBBGBBG 
GBBGBBGBBGBBGBBGBBGBBGBB 

8GBBGBBGBBGBBGBBGBBGBBGB 
BGBBGBBGBBGBBGBBGBBGBBG 



254 

GBBB 
BGBB 
BBGr 



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DGGB 
DGBG , 
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255 




256 

aGGBGGGBGGGBGGGBGGaBQGaB 
aGBGaGBGGGBGGaBGGaBGGGBa 

eBGGGBGGnBaaGBaaGBGGGBGG 
GaGBGGaBGaCBaGGBaGGBaGa 
GGGBGGGBGBBBGBBBGGGBGGGB 
GGBGGGBGBGBBBGBBGGBGGGBG 
GBGGGBGGBBGBBBGBGBGGGBGG 
BGGGBGGGBBBGBBBGBGGGBGGG 
GGGBGBBBGBBBGBBBGBBBGGGB 
GGBGBGBBBGBBBGBBBGBBGGBG 

BBGGBBGBBBQBBBGBBBGBGBGG 
GGGBBBGBBlGBBBGBBBGBGGG 
GGGBGBBBGBBBGBBBGBBBGGGB 
GGBGBGBBBGBBBGBBBGBBGGBG 
GBGGBBGBBBGBBBGBBBGBGBGD 
BGGGBBBGBBBGBBBGBBBGBGGG 
GGGBGGGBGBBBGBBBGGGBGGGB 
GGBGGGBGBGBBBGBBBGBGGGBG 
GBGGGBGGBBGBBBCBGBGGGBGG 
BGGGBGanBBBGBBBGBGGGBGGa 
QGGBGGGBGGGBGGGBGGGBGGGB 
DaBGGCBaaaBCGGBGGaBGGGBa 

SBGGGBaaQBGGGBGGGBGaGBaa 
ccDBaaQBDaaBaaaBaDaBDGD 



TEXTILE DESIGNERS' 



267 

DDnaOBBB ^BBBDBBBDBBB'DaGB 
aJBDBDBBBaBBBaBBBGBBGGBD 
aBDDBaDBBBDBBBGBBB JBGBGD 
BDDGBBBGBBBaBBBGBBB BGGG 
DO JBaDGBGBBBGBBBDGDBDGGB 
DGBaaGBGBGBBBGBBGGB GGBG 
DBDGGBGGBBGBBBGBGBGDGB Q 
BD a«aGaBBBGBBBGBGGaBGGG 
DaDBaGGBaGGBaGGBn CB GGB 
DGBGaGBGGaBGGGBGCGBaaGBa 
GBaGGBDaGBGa JBGGGBQgGBGa 

BaDDBaBaBnaaBDacBGaDBDaa 



BBBjGBB 
BGG GBG 

BGBiBBB 


2 


BBG 
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260 

DGBBBBB'iBBBBBGGBGBG'^GBGB 
G BGBGGGBGBGGBBBBBGBBBBB 
BBBBBiGBBBBBGGBGBDGGBGBGG 
BGBGGGBGBGGBBBBBOBBBBBGG 
■BBGBBBBBGGBGBGGGBGBGDBB 
BGGGBGBGGBBBBB BBBBBGDBG 
SGBBBBBGGBGBGGGBGBGGBBBB 
GGBGBGGBBBBBGBBBBBGGBGBG 
BBBBBGGBGBGGGBGBGGBBBBBG 
BGB JGBBBBBGBBBBBGGBGBGGG 
BBBGuBGB GGBGBGGBBBBBGBB 
BGGBBBBBGBBBBBGGBGBGGGBG 
BGGBGBGGGBGBGGBBBBBGBBBB 
GBBBBBGBBBBBGGBGBGGGBGBG 
GBGBGGGBGBGGBBBBBGBBBBBG 
BBBBGBBBBBGGBGBGGGBGBGnB 
GBGGGBGBGGBBBBiGBBBBBGGB 
BBGBBBBBGGBGBGGfDBGBGGBBB 
GGGBGBGGBBBBBGBBBBBGGBGB 
GBBBBBGGBGBGGGBGBGGBBBBB 
GBGBGGBBBBBGBBBBBGuBGBGG 
BBBBGGBGBGGGBGBGGBBBBBGB 
GBOGBBBBBGBBBBBGuBGBGGGB 

■BaQBOBoaaaaaaaaiiBBoaaa 



261 

BGBGlBBBB 
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bgbg'bbbb 
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IGBG 
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POCKET MANUAL. 



R 



263 

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264 



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267 

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268 

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269 

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270 

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271 

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272 

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273 

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274 

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275 

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38 



i«7e 



TEXTILE DESIGNERS* 
277 



278 



nannnnBDanBD 

nnDDDnnDDanD 
nnnnBDBDBnnn 
GDnnnnnnDDDD 
DDBnBDBDnnDn 
nnnannnnnnnn 
BnBnBnnDDDnn 
Dnnannnnnnna 
BaBDnDnnnnBD 
nnDnnnnDnnna 
BnnnaannBDBD 

279 

DnnnannBnBnB 

DBDBaaBBBBBB 

nnnnnBDBDBDD 

DBDBBBBBBBDB 

naDBnBnBnnnn 

DBBBBBBBDBDB 
DBDBDanDDDGn 
BBBBaBDBDBDB 

nBDBDDDnnnDB 

BBBBDBDBDBBB 

DBnDnnannBDB 

BBDBDBDBBBBB 



nnnnnDBDBDB 
DaDDnDnDnna 

DDDDBDBDBDD 

DDDDnDnnD d 

DaBDBaBDDDn 

aDnnnannDDD 
BnBDBDaDnnn 
nDDDDDDannn 

BDBDnnDDDnB 

nnaDDnnnnnn 
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DDDnnDDDDDD 



DDnDDDnBnBGB 

DDnnnnBnBnBD 
nanDaBnBDBnD 
nnnnBDBDBDnn 
nDDBDBnBDnnn 

naBDBDBDDDDn 

nBDBDBnnnnna 
BnBnBnDDDnnn 
nBDBDannnnDB 
BDBDnnDnnnBD 
DBnnDDnnnBDB 
BDnnaDDnBDBn 

280 

nnnnnanBaBDB 

DBDBDBBBBBBB 
DnnDDBBBDBDa 
DBDBBBBBBBDB 
nanBDBDBDDDD 
DBBBBBBBDBDB 
DBDBDBDDDDDD 
BBBBBBDBDBDB 
BBnBDDDDDDDB 
BBBBDBDBDBBB 
DBDDDDDDDBDB 
BBDBDBDBBBBB 



CHAPTER II. 



EXPLANATION OF WEAVES 



N. B. Where there are no drafts given 
with the weaves they are straight draws. 

1 is a plain clotli. 

2 is a 3-l"iarness filling twill. 

3 is a 3-harnes.ss warp twill. 

4 is a 4-harness twill or common twill. 

5 is a 4-harness filling or crow twill. 

6 is a 4-harness warp or inverted crow 
twill. 

7 is a 5-harness filling twill 3 and 2. 

8 is a 5-harness warp twill 3 and 2. 
J> is a 5-h£rness inverted crow twill. 

10 is a 5-harness doeskin being a trans- 
position of 9. 

11 is a 6-harness twill. 

12 is a 6-harness twill with herring bone 
draft. 

13 is a (^-harness twill diaper using same 
draft as 12. 

14 is a 7-harness filling twill 4 and 3. 

15 is a 7-harness warp twill 4 and 3. 
Ifi is a T-harness doeskin. 

17 is an 8-harness twill. 

18 is a transposition of 17. 

19 is a transposition of 18. 



POCKET MAI\aAL. Si 

20 is an 8-harness warp twill. 

21 is an 8-harness doesKin being a trans- 

position of 20. 

22 is an 8-liarness doeskin being trans- 

position of 21. 

23 is an 8-liarness Russian twill. 

24 is a transposition of 23. 

25 is a transposition of 24. 

26 is another 8-harness Russian twill. 

27 is a transposition of 26 and commonly 

called Mayo twill. 

28 is a transposition of 27. 

29 is a 9-liarnePS warp twill 7 and 2. 

30 is a transposition of 29. 

31 is a transposition of 30. 

32 is a 5-harness warp twill 27 degree. 

33 is a transposition of 32. 

34 is a 10-harness Russian twill. 

35 is a transposition of 34. 

36 is a transposition of 35. 

37 is a 12-harness Russian twill. 
.^)8 is a transposition of 37. 

39 is a transposition of 38. . 

40 is a transposition of 39. 

41 is another style of 12-harness Russian 

twill. 

42 is a transposition of 41. 

43 is a transposition of 42. 

44 is a transposition of 43. 

45 is a 16-harness Russian twill. 

46 is a transposition of 45. 

47 is a transposition of 46. 

48 is a transposition of 47. 

49 is a transposition of 48. 

50 is a transposition of 49. 

51 is a transposition of 50. 

h'i is?, another 16-harness Russian twill. 

53 is a transposition of 52. 

54 is a transposition of 53. 

55 is a transposition of 54. 

56 is a transposition of 55. 

57 is another 16-harness Russian twill. 

58 is a transposition of 57. 

59 is a transposition of 58. 

60 is a transposition of 59. 

61 is one of the original twills from 

Which a double twill is derived. 

62 is a transposition of 61. 

63 is a transposition of 62 showing edgeo 

twill. 

€4 is a transposition of 63 showing double 
twill. 

65 is a transposition of 64 showing an- 
other formation of double twill. 

56 is a transposition of 65 showing an- 
other formation of double twill. 



40 TEXTILE DESIGNERS' 

• 

67 is a 24-harness double twill, 12-hamess 

and 12 bars will do this. 
6S is a fi7 reduced and transposed. 

69 is a 68 transposed. 

70 is a 69 transposed. 

71 is another original twill from which 

the double twill is derived. 

72 is the first transposition. 

73 is the second transposition. 

74 is the third transposition. 

75 is the fourth transposition. 

76 is the fifth transposition. 

77 is the sixth transposition. 

78 is a 5-hamess corkscrew. 

79 is a Russian twill. 

80 is a 7-harness corkscrew. 

81 is a 7-harness warp twill from which 

the corkscrew 80 is transposed. 

82 is a 9-harness corkscrew. 

83 is a 9-harness warp twill from which 

82 is transposed. 

84 is an 11-harness corkscrew. 

85 is the original twill from which 84 is 

transposed. 

86 is a J5-harness corkscrew. 

87 is the orig-inal twill from which it is 

transposed. 

88 is a broken corkscrew 7-harness. 

89 is the original from which it is trans- 

posed. 

90 is a broken corkscrew 9-harness. 

91 is the orig-inal from which it is trans- 

posed. 

92 is an 11-harness flat corkscrew. 

93 is the original from which it is trans- 

posed. 

94 is a 15-harness flat corkscrew. 

95 is the original from which it is trans- 

posed. 

96 is a 9-harness broken corkscrew of 

another form. 

97 is the intermediate transposition of 96 

and 98. 

98 is the original twill from which 96 is 

derived. 

99 is an 11-harness broken corkscrew. 

100 is the original transposition of 99 and 

101. 

101 is the original twill from which 99 is 

derived. 

102 is a double plain drawn in and woven 

as shown. 

103 is a chain transposition of 102 drawn 

in as shown and woven strai gh t. 

104 is a draft transposition of 103 dfrawn in 

and woven straight. 

105 is a .?-ply plain cloth. 

106 is a chain transposition of 105. 



POCKET MANUAL. « 

107 is a draft transposition of 106 unbound. 

108 is a 4-ply plain cloth. 

109 is a chain transposition of 108. 

110 is a draft transposition of 109 unbound. 
See rule for binding-. 

111 is a 3-harness filling twill double cloth. 

112 is a chain transposition of 111. 

113 is a draft transposition of 112. 

114 is a 3-harness warp twill double cloth. 

115 is a chain transposition of 114. 

116 is a draft transposition of 115 

117 is a 3-harness filling twill 3-ply fabric. 

118 is a chain transposition of 117. 

119 is a draft transposition of 118. 

120 is a 3-harness warp twill face antf 

middle and a filling twill back. 

121 is a chain transposition of 120. 

122 is a draft transposition of 121. 

123 is a common twill double cloth. 

124 is a chain transposition of 123. 

125 is a draft transposition of 124. 

126 is a 4-harness crow double cloth. 

127 is a chain transposition of 126. 

128 is a draft transposition of 127. 

129 is a common twill 3-ply fabric. 

130 is a chain transposition of 129. 

131 is a draft transposition of 130. 

132 is a doeskin double cloth (5-harness). 

133 is a chain transposition of 132. 

134 is a draft transposition of 133. 

135 is a 2 pick basket double cloth. 

136 is a chain transposition of 135. 

137 is a draft transposition of 136. 

N. B. the second transposition makes all 
of these double cloths straight-draw and 
straight-chain; they are all separate 
cloths, no binders being put in so as to be 
easier understood by learners (see rule 
for binding). 

138 is a 6-harness twill double cloth. 

139 is a chain transposition of 138. 

140 is a draft transposition of 139. 

141 is a 3-pick basket double cloth. 

142 is a chain transposition of 141. 

143 is a draft transposition of 142 

144 is a 3-pick basket face and a 6-hamea8 

twill back. 

145 is a chain transposition of 144. 

146 is a draft transposition of 145. 

147 is an 8-hamess twill double cloth. 

148 is a chain transposition of 147. 

149 is a draft transposition of 148. 

150 is a Russian twill face and a Mairo 

twill back. 



42 



T|:XTILE DESIGNERS' 



151 is a chq^in transposition of 150. 

152 is a draft transposition of 151. 

153 is a common twill face and a plain 

back (Vz back). 

154 is a chain transposition of 153. 

155 is a draft transposition of 154. 

156 is a 6-ha.rness twill face and a 3-har- 

ness twill back, 

157 is a cliain transposition of 156. 

158 is a draft transposition of 157. 

159 is an 8-liarness twill face and a 4-har- 

ness twill back. 

160 Is a chain transposition of 159. 

161 is a draft transposition of 160. 

162 is a common twill face and a satin 

warp back. 

163 is 162 transposed to a straight draw. 

164 is a common twill face and a satin % 

warp back. 

165 is 164 transposed into straight draw. 

166 is a common twill face and a filling 

back 2 and i. 

167 is 166 transposed into straight chain. - 

168 is an S-harness filling back 2 face and 1 

back. 

169 is a 12-harness Russian twill filling 

back 2 and 1. 

170 is a transposition of 169 face with fill- 

ing back. 

171 is a transposition of 170 face with fill- 

ing back. 

172 is a transposition of 171 face with fill- 

ing back. 

173 is a transposition of 172 face with fill- 

ing back. 

174 is a double plain and filling rib com- 

bination. 

175 is a double plain and filling rib and 

common twill combination. 

176 is a warp crow and filling rib and 

common twill combination. 

177 is a 27 degree twill filling rib and 

common twill combination. 

178 is a warp broachie and filling rib com- 

bination. 

179 is a warp broachie and filling rib com- 

bination. 

180 is a 6-harness twill and filling rib com- 

bination. 

181 is a half back and filling rib combina- 

tion. 

182 is a warp broachie and filling rib com- 

bination with filling back. 



POCKET MANUAL. 43 

183 is a Russian twill and a Mayo twill: 

combination. 

184 is a cut weave. 

1S5 is a cut weave combination. 

186 is a cut weave combination. 

187 is a cut weave combination. 

188 is a cut weave combination. 

189 is a cut weave combination. 

190 is a cut weave combination. 

191 is a cotton warp 2 face and 1 back. 

wool filling. 

192 is a cotton warp 2 face and 1 back. 

witli wool stripe. 

193 is a cotton and wool warp 4 and 4 cot- 

ton in rib. 
1&4 is a cotton and wool warp 4 and 6 cot*- 
ton in rib. 

195 is a coton warp filling rib. 

196 is 195 with filling back. 

197 is cotton warp rib with wool stripe. 

198 is cotton warp rib with wool twills. 

199 is a 4 colored filling stripe. 

200 is a double plain cord 

201 is a 2 fine and 1 coarse plait plain 

ground. 

202 is a 3 fine and 1 coarse plait 3-harnes9 

twill ground. 

203 is a 4 fine and 1 coarse plait 4-harness 

twill ground. 

204 is a 4 fine and 1 coarse plait plain 

ground. 

205 is a 2 fine and 1 coarse plait plain 
ground. 

206 is a 2 fine and 1 coarse plait plain 

ground. 

207 is a 3 fine and 1 coarse plait plain 

ground. 

208 is a 3 fine and 1 coarse plait 3-harness 

filling twill ground. 

209 is a 4 fine and 1 coarse plait plain 

ground. 

210 is a 2 fine and 1 coarse plait plain 

ground. 

211 is a 2 plain ground and 2 plait all same 

size warp. 

212 is a 4 plain ground and 2 plait all same 

size warp. 

213 is a 4 common twill ground 2 plait all 

same size warp. 

214 is a 3 fine and 1 coarse plait plain and 

3-harness twill ground 

215 i.«5 a 2 fine and 1 coarse plait plain an* 

basket .ground. 



44 TEXTILE DESIGNERS' 

216 is a 1 fine and 1 coarse warp flushing 

plain ground. 

217 is a 1 fine and 1 coarse warp flushing 

plain ground. 

218 is a 2 fine and 1 coarse warp flushing 

plain ground. 

219 is a 2 fine and 1 coarse warp flushing 

plain ground. 

220 is a 1 fine and 1 coarse warp flushing 

plain ground. 

221 is a 1 fine and 1 coarse warp flushing 

plain ground. 

222 is a 2 fine and 1 coarse warp flushing 

plain ground. 

223 is a 1 fine and 1 coarse warp flushing 

plain ground. 

224 is a 1 fine and 1 coarse warp flushing 

Celtic ground. 

225 is a 1 fine and 1 coarse warp flushing 

plain ground. 

226 is a 1 fine and 1 coarse warp flushing 

plain ground. 

227 is a 1 fine and 1 coarse warp flushing 

plain ground. 

228 is a 1 fine and 1 coarse warp flushing 

plain ground. 

229 is a plain and 4 pick basket combina- 

tion dress goods. 

230 is a plain and plait combination dress 

goods. 

231 is a plan from which to make any 

figure in plain cloth. 

232 is a basket figure (see rule for figure 

weaving). 

233 is a 232 figure (the weave made from 

231 plan to make). 

234 is as 233 shows in fabric. 

235 is another figure. 

236 is the weave for 235. 

237 is as it will show in fabric. 

238 is a plan from which to make any 

figure in 2 fine and 1 coarse plait. 

239 is the figure. 

240 is a weave for figure 239. 

241 is as 240 will show in fabric. 

242 is a plan from which to make any 

figure in 3 ply and 3 colors. 

243 is a figure. 

244 is the weave for 243. 

245 is a plan from which to make any 

figure in combination twill double 
cloth. 

246 is a figure. 



POCKET :MANUAL. 45 

247 is the weave for figure 246 made from.; 

plan 245. 

248 is a plan from which to make any 

figure in double plain. 

249 is a figure. 

250 is the weave for figure 249 made from- 

plan 248. 

251 is a plan from which to make any 

figure in 3-harness and inverted twill. 

252 is a figure. 

253 is the weave for figure 252 made from- 

plan 251. 

254 is a plan from which to make any 

figure in crow and inverted crow. 

255 is a figure. 

256 is the weave for figure 255 made from- 

plan 254. 

257 is 256 reduced to 12-harness (see rule 

for reducing). 

258 is a plan from which to make any 

figure in 3-harness twill double cloth. 

259 is a 6-harness twill figure. 

260 is the weave for figure 259 made from> 

plan 258 

261 is a plan from which to make any 

figure in 2 pick basket double cloth. 

262 is a combination twill figure. 

263 is the weave for figure 262 made from 

plan 261. 

264 is a plan from which to make any 

figure m basket face and twill back. 

265 is a figure. 

266 is the weave for figure 265 made froni 

plan 264, 

267 is the fate weave of a combination^ 

twill double cloth. 

268 is the back weave of a combination 

twill double cloth. 

269 is the back and face weave combined. 

270 is 269 with all the face raised when= 

back pick goes in. 

271 is 270 with binders. 

272 is the face weave combination twill. 

273 is the back weave 2 pick basket. 

274 is 272 and 273 combined. 

275 is 274 with all face raised when back 

pick goes in. 

276 is the face weave of a 6-harness twill 

double cloth. 

277 is the back weave of a 6-harness twill' 

double cloth. 

278 is 276 and 277 combined. 

279 is 278 with all face up when back pick: 

goes in. 

280 is 279 bound. 



46 



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* . • • 


• 



CHAPTER IV. 



RULES FOR FABRICS, 

and Tables of Diameters to Use for Various 
Fabrics for From Four to Sixteen Ounces 



CASSIMERES. 

To find the threads, picks, reeds, etc., 
from diameters given in the various 
weaves: Multiply the diameter by the 
harness used, and divide by the harness 
and interlacers; the answer will be the 
threads per inch, which multiply by 27; 
the result will be the total number of 
threads in warp. Divide these by the 
width wanted in loom; the answer will 
be the picks per inch, which, again dlvid* 
ed by the number of threads in dent, will 
give the reed to use. 

EXAMPLE. 

8 oz. fabric wanted 4-harnes8 twill eQuals 80 
dlampter 
4 harness and 2 interlacers euuals 6. 
80 diameter. 
4 harness 

Har. and Int. 6 I 320 

53% threads per Inch. 

27 Inches wide fine fabric. 



Inches 36 | 1,440 

In dent 4 | 40 picks. 

10 reed, 4 In dent. 
Shrink 10 per cent in length in finishing. 

SO diameter equahs 4.00 run. 

4 oz. warp. 

1,600 threads. 
1,440 threads used 

16.00 

10 per c't shrinkage in loom. 

In worsted calculations add 10 per cent 
to ends given. 



■62 TEXTILE DESIGNERS' 

EXAMPLE. 

8 oz. fabric wanted 4-harnes8 twill equals 
90 diameter. 

90 
4 

6 I 360 

60 

27 

1,620 
160 equals 10 per cent added. 

Inches 32 1 1,780 

8 I 86 picks. 

10% reed; 8 in dent. 

90 diameter equals 5.00 run. 

4 oz. warp. 

2,000 threads. 
1,780 threads used. 



20.00 1 22.00 

11 p. c. shrinkage In loom. 

Only scoured natural length. 

N. B. The calculations are not always 
brought to the lowest fraction but very 
close to it. 

In tweed calculations deduct 6 per cent 
from ends given. 

EXAMPLE. 

8 oz. fabric wanted 4-harness twill equals 75 
diameter. 

75 diameter. 

4 

6 I 20O 

50 
27 

1,350 

80 equals 6 per cent or nearly so. 

Inches 35 1 1,270 

In dent 4 | 37 picks. 

9%reed, 4 in dent. 



POCKET MANUAL. 63 

Shrink 7 per cent in length in finishing. 

75 diameter equals 3.50 run. 

4 oz. warp. 

1,400 
1,270 

14.00 I 13.00 

9% p. c. shrinkage In loom. 
In cheviots deduct 12 per cent from 
threads given. 

EXAMPLE. 
10 oz. fabric wanted 6-harness twill equals 62 
diameter. 

62 diameter. 
6 harness and two interlacers equals 8. 

8 I 372 



46V2 
27 



1,256 
150 equals 12 per cent deducted. 

1,100 

Shrink 5 per cent in length in finishing. 

62 diameter equals 2-40 run. 

5 oz. warp. 

1,200 threads 
1,100 

12.00 I 100.0 

8% p. c. shrinkage in loom. 

In cheviot dress fabrics add 15 per cent 
to threads given. 

8 oz. fabric, 6-4 wanted, plain cloth equals 68 
diameter. 

68 diameter (or divide diameter by 2.) 
2 harness and 2 interlacers equals 4. 



4 I 136 



34 
27 this gives threads for 54 inches. 

918 

137 equals 10 per cent added. 



64 I 1.055 



2 1 161/2 picks. 

8% reed. 2 In dent. 



64 TEXTILE DESIGNERS' 

Shrink 5 per cent in lengrth in flnishingr. 

68 diameter equals 2.89 run. 

4 oz. warp. 

1,156 
1.065 

1,156 I 1010.0 

8% p. c. shrinkage in loom. 

In cotton and silk add 6 per cent to 
threads given. 

6 oz. fabric, wanted S-hamess twill equals 123 
diameter. 

123 diameter. 
5 harness and 2 interlacers. 



7 I 615 

88 

27 



2,376 
164 equals 6 per cent added. 

2,540 

Natural length. 

123 Jiam. equals 18 cot. equals 9.45 run. 

3 oz. warp. 

2,835 
2,540 

2.835 I 2,950 

lOyg P.O. shrink'e. 

In double cloths double the diameter 

used in single cloths, and find threads. 

picks, etc., as in single cloths, counting 

harness and interlacers as if single, 1. e., 

a 4-harness twill double cloth requires 
8 harness, but only use 4 and 2 inter- 
lacers, and so on, and as double the diam- 
eter gives 4 times as fine in yam the size 
is not taken from the diameter, but the 
single cloth yarn is just doubled, 1. e., a 
4-run in single cloth would be 8-run in 
double cloth, and so on. 



POCKET MANUAL. 65 

In cassimere double cloths deduct 5 per 
cent from threads for extra shrinkage, 
caused by binders. 

In worsted double cloths only add 5 
per cent to threads, instead of 10, as in 
single cloths. 

In cotton and silk double cloths, just 
take threads as given: 

In double cloth in warp and single cloth 
in filling, 1 face and 1 back in warp such 
as satin or crow backs, use the double 
cloth diameter for warp, and the 
double cloth size of yarn, and use the 
single cloth size of yarn in filling, usinft 
one-half of picks given. 

EXAMPLE. 

8 oz. fabric. 3 harness twill face, 6 hameati 
satin back. 

144 double cloth diam. for 8 oz. 3 harness twllL 

144 
3 

5 I 432 

86 
27 

2,322 
116 equals 5 per cent shrinkagre. 

361/2 I 2,200 

6 I 60 picks 30 used, being V2, 3.25 run fllltn$. 

10 reed, fi in dent. 

1 

72 single cloth diameter equals 3.24 run. 

3.24 
2 

warp 6.48 run. 
' 4 oz. warp. 

2,590 
2,200 

2,590 I 3,900 

15 p. c. shrink. In loom. 

Warp back, 2 face and 1 back, take th« 
double cloth and the single cloth diameter 
of whatever weight wanted (taking tTie 



66 "JEXTILE DESIGNERS' 

face weave_for the consistency), add the 
two together and divide the total by 2, 
the answer will be the warp diameter to 
use. For filling use the single cloth size 
as in 1 face and 1 back, but use 2-3 of 
picks given, warp yarns.* 

*N. B. The size of warp yarn is found 
by multiplying the single cloth yarn Dy 
3 and dividing by 2. 

EX'AMPLE. 

8 oz. fabric. 3 harness twill face. 6 harness 
crowback. 

144 double cloth diameter for 8 oz, 3 h. t. 
72 single cloth diameter for 8 oz. 3 h. t. 
144 
72 

2 I 216 

108 warps diamter to use. 
3 harness and 2 interlacers. 

5 I 324 

65 

27 

1,75.5 

85 equals 5 per cent shrinkage. 

36 I 1,670 

3 I 46 picks, 30 being 2-3 used. 

15% reed. 3 in dent, 

72 diameter equals 3.24 run, 

2 

648 
324 

2 I 972 

4.86 run warp. 
4 oz. warp. 

1,944 
1.670 

,,944 I 2.740 

14 per c't shrinkage in loom. 



POCKET MANUAL. 67 

In doeskins multiply the single cloth 
diameter by 3 and divide by 2, the answer 
will be the warp diameter to use. To find 
the size of warp yam, multiply the single 
cloth size by 2, and for the filling mul- 
tiply the single cloth by 3 and divide by 
2. The answer will be the size to use; 
using % of picks given, add 10 per cent 
to threads given. Take 4 harness single 
cloth diameter for 8 harness doeskin, etc. 

EXAMPL.E. 

8 oz. fabric wanted 8-harness doeskin, 80 dla., 
80 dia. being S oz. diameter for 4-harnes8 twill, 

80 
3 

2 I 240 

120 diameter to use. 
8 harness and 2 Interlacere 

10 1 960 

96 
27 

2.600 
260 equals 10 per cent added. 

85% I 2,860 threads. 

8 I 80 picks, 60 picks used being ^ 

10 reed, 8 in dent. 



80 di 


iam. equals 4.00 run. 
2 






8.00 run warp. 
4.00 




21 


12.00 
6.00 filling. 




800 






4 OZ. 


warp. 




3,200 
2,860 





32.00 I 34.00 

10% per cent shrinkage. 



68 TEXTILE DESIGNERS' 

• 
Half backs, i. e., 2 face and 1 back warp 
and filling. Take the diameter of single 
cloth for face weave, and weight of face 
wanted; deduct from threads according 
to the number of binders; the remainder 
will be the number of threads in face 
warp, which divided by 2 will give the 
number of back threads; add the two to- 
gether which will give the total number 
of threads in warp; then find pick, reed, 
etc., as in previous rules. Should one or 
two ounces extra weight be wanted with 
cheaper filling, use heavier and inferior 
stock for back filling; if bound every sec- 
ond face pick deduct 12 per cent; if every 
fourth, deduct 8 per cent; if every sixth, 
deduct 4 per cent. 

EXAMPLE. 

12 oz. fabric wanted 8 oz. face. 4 harness 
twill eass. 80 diameter. 

80 
4 

6 I 320 

53% 
27 

1,440 
130 equals 8 p. c. for binders, 1 every 
fourth face pick. 

1,310 face thread. 
655 back thread. 



36% I 1,965 total threads in warp. 

6 I 64 picks. 

9 reed, 6 In dent. 

Filling back; take the single cloth diam- 
eter for whatever weight and weave 
wanted, deduct for binders as in half 
back, add half as many more picks and 



POCKET MANUAL. 69 

put back filling, according to weight 
wanted; if bound every fourth, deduct 16 
per cent; if every sixth, deduct 12 per 
cent; every eighth, 8 per cent; every 
tenth, 6 per cent; every twelfth, 4 per 
cent; every sixteenith, 2 per cent. 

EXAMPLE. 

12 oz. fabric wanted. 8 oz. face. 6 harness 
twill, % diameter. 

90 dia. for 8 oz. 6 harness twill (2 face 

and 1 back pick). 
6 

8 I 540 

67% 

27 

1,820 

74 equals 4 per cent for binders 1 In 12. 

36% 1 1746 threads in warp. 

4 I 48 picks, one half added equals 72 picks. 

12 reed. 4 in dent. 

Filling 2 of 90 diameter equals 5 run, 1 of 
2% run back tilling being just one-half size of 
face, thus giving 4 oz. 

Half back; where this class of goods la 
wanted, 6 oz. face and 6 oz. back, or any 
weight being one-half of weight on face, 
and one-half on back, so as to have one- 
half of inferior stock of back, take the 
diameter of the face weight and weave 
wanted, and the diameiter of the back 
weight and weave wanted, as 12 oz. fabric 
wanted 4 harness twill face, plain back, 
take the 6 oz. twill and the 6 oz. plain 
diameter, add the two together, which 
after deduoting for binders as in the other 



70 JEXTILE DESIGNERS' 

one-half back will give the threads 2 
face and 1 back warp and filling. 

N. B. All calculations are based on 
clean yarns. 

EXAMPLE. 

12 oz. fabric wanted 6 oz. face, 4 harness 
twill, 6 oz. back, plain cloth. 

107 diameter for 6 oz. 4 harness twill. 
4 

6 i 428 

71 
27 

1,920 face threads. 
1,080 back threads. 

3,000 
2.50 equals 8 per cent shrinkage for binder*. 

2,750 total threads in warp. 

2 1 80 diameter for 6 oz. plain cloth. 

40 
27 

l.OSO 

107 warp face diameter equals 7.15 run. 
80 warp back diameter equals 4.00 run. 
Fillin? the same. 

UNIONS. 
When making cotton warp fabrics or 
others where the warp and filling are 
different sizes find the mean size of the 
two combined (as shown in rule to find 
weave size of two or more sizes laid or 
twislted together), multiply said size by 
weight of fabric wanted; the answer after 
deducting 5 per cent for shrinkage will be 
the number of threads in warp, from 
which find picks, reed, etc., as usual. 

E.XAMPLE. 

8 oz. fabric wanted 4 harness twill. No. 16 
cotton warp, 3-run filling. 



POCKET MANUAL. 71 



No. ir. cotton equals 8.40 run. 
Say S divided by 8 equals 1 

8 divided by 3 equals 2 2-3 

3.66 1 80O 



Cotton, 8 run I 1,672 



2.20 r. mean slse- 
S oz. fabric. 

1,760 
88 

36% I 1,672 th'ds in w'p. 

4 I 46 picks. 

liyii reed. 4 In d't. 



2.09 oz. warp. 
5.57 oz. filling. 

7.66 oz. total. 
.38 equals 5 p. c. loom sh'kage. 

8.04 oz. fabric 
Run 3 I 1,672 

5.57 oz. fill. 
In cotton warp, as there Is no shrinkage 
in fulling, add 10 per cent to picks for loss 
in finishing. N. B. All calculations are on 
a clean yarn basis. 

MELTONS AND FLEECED FABRICS. 
Multiply size of yarn to be used by one- 
half of weight wanted, deduct 10 per cent, 
the answer will be the threads in warp. 
Next find the diameter of the yarn, which 
multiply by the harness to be used, and 
divide by the int'erlacers; the answer will 
be the threads which will lie m one Incn 
in that weave. Divide the threaas la 
warp by the threads per inch, thus giv- 
en; the answer will be the width to finish 
for perfect fabric, from which subtract 
54, the finished width wanted; the answer 
will show the amount of felting. 

To set it in loom, deduct 20 per cent 
from the threads per inch, an3^ divide the 
threads in warp with the remainder; the 
answer will be the width to set in loom. 



72 TEXTILE DESIGNERS' 

EXAMPLE. 

24 oz. melton wanted 3.00 run yarn equals 7€ 
diameter. 

300 4 harness twill. 70 

12 oz. warp. 4 

3,600 6 1 280 
360 — 

47 thds. per 

47 I 3,240 inch. 

69 in. finished for perfect fabric. 
54 In. finished for felted fabric. 

15 in. felted in finishing. 
47 
8 equals 20 per cent deducted. 

Picks, 39 I 3,240 

80% inches in loom. 

Where two sizes are used, find the 
mean size, and multiply by total weight 
wanted, then follow rule given above. 

In finding weight of fabric from one 
or more square inches, multiply width 
of fabric by weight of one square inch in 
grains, and divide by 12.15, the answei 
will be weight per yard. 

EXAMPLE. 

1 sq. inch weig-hs 4 grains, 27 Inches wide. 

4 



12.15 I 10,800 

8.80 oz. per yard. 
Cutting measures 3% times 3 inches weighs 
42 grains. 
10.50 i 4.200 3.50 

• 3 

4 grains per sq. inch. 

10.50 square Inches. 

To find size of warp and filling to make 
foregoing fabric, find the threads per 
inch in warp, which multiplied by 27 will 
give the threads in warp, which divided 
by half of the weight wanted, will give 
the size of yarn to use, only have it 7 or 
10 per cent heavier for loss in finishing. 
Multiply picks by 27 and divide by one- 
half of weight, which will give size of fill- 
ing. 



POCKET MANUAL.. 71 

EXAMPLE. 
50 threads per Inch warp. 
27 



Ounces 4.44 | 1,S50 threads in warp. 



3.04 run. 
.30 equals 10 per cent for loss. 

2.74 equals 2% run warp. 
48 picks. 
27 

Ounces 4.44 | 1,296 

292 run. 
29 equals 10 per cent loss. 

2.63 run flllinir. 

INTERLACERS. 

In finding interlacers, note the changes 
that occur in each bar of the chain and 
in each harness; if it is an even weave 
one bar will show the number, but if it ia 
an uneven or broken weave note the 
changes all through both warp and filling 
way, add them all altogether and divide by 
the number of harness and bars in chain 
added; thus a 4, 6, 8 or 12 harness twill 
45 degrees only has two changes in each 
bar, or a 5, 7, 9, 11 or 13 harness cork- 
screw only two changes in each bar, ana 
so on, but a twill of 27 d,egrees takes 4 
harness and 8 bars, and changes twice 
every harness, and only twice every oth- 
er bar, thus it is 4 harness and 8 inter- 
lacers, and 8 bars and 8 interlacers, 
which makes 16 interlacers, which divid- 
ed by 8 bars and 4 harness equals 12. 
gives 1 1-3 interlacers in 6 harness. 

Thus 4 harness. 
8 bars. 

2 i 12 

— 6 harness and 1% interlacers. 

3 
— IS harness and 4 interlacers. 

45 degrees is the regular twill moving 

one point both warp and filling each time. 

27 degrees moves 1 point warp way, and 

2 point.s filling way. 

63 degrees moves 1 point filling way 
and 2 points warp way. 

70 degrees moves 1 point filling way and 

3 points warp way. 



74 



TEXTILE DESIGNERS' 



TABLES FOR DIFFERENT WEIGHTS AND WEAVES 

CASSIMERES. 



Oz. 


Weave. 


Dla. 


Oz. 


Weave. 


Dia. 


4 


1 

Plain cloth. 


120 


i 
6 


5 har. twill. 


115 


5 




96 


7 




98 


6 




80 


8 




86 


7 




69 


9 




7G 


8 




60 


10 




69 


9 




53 


11 




63 


10 


" 


48 


12 




57 


11 




44 


6 


6 har. twill. 


120 


12 




40 


7 




103 


5 


3 har. twill. 


115 


8 




90 


6 




96 


9 




80 


7 




82 


10 




72 


8 




72 


11 




65 


9 




64 


12 




60 


10 




58 


7 


7 har. twill 


106 


11 




52 


8 




93 


12 




48 


9 




83 


6 


4 har. twill. 


107 


10 




74 


7 




91 


11 




68 


8 




80 


12 




62 


9 




71 


7 


8 har. twill 


110 


10 




64 


8 




96 


11 




58 


9 




85 


12 




53 


10 
11 




77 
70 




1 


1 


12 




64 



WORSTEDS. 



Oz. 


Weave. Dia. 


Oz. 


Weave. 


Dia. 


4 


Plain cloth. 


136 


5 


5 har. twill. 


154 


5 




109 


6 




128 


6 




91 


7 




110 


7 




78 


8 




96 


8 




68 


9 




85 


9 




60 


10 




77 


10 




54 


11 




70 


11 




49 


12 




64 


12 




45 


6 


6 har. twill. 


136 


4 


3 har. twill. 


162 


7 




117 


5 




130 


8 




102 



POCKET MANUAL. 



7S 



WORSTEDS. 



i i 








Oz. Weave. | Dia. 

i 1 


Oz. 


Weave. 


Dia. 


6 




108 


9 




90 


7 




93 


10 




81 


8 




81 


11 




74 


9 




72 


12 




68 


10 




65 


7 


7 har. twill. 


120 


11 




59 


8 




105 


12 




54 


9 




93 


5 


4 har. twill. 


144 


10 




84 


6 




120 


11 




76 


7 




103 


12 




70 


8 




90 


8 


8 har. twill. 


108 


9 




80 


9 




96 


10 




72 


10 




86 


11 




65 


11 




79 


12 




60 


12 




72 



TWEEDS. 



1 

Oz. Weave. 

1 


Dia. 


Oz. 


Weave. 


Dia. 


6 


Plain cloth. 


75 


6 


6 har. twill. 


113 


7 




64 


7 




97 


8 




66 


8 




85 


9 




50 


9 




75 


10 




45 


10 




68 


11 




41 


11 




62 


12 




38 


12 




56 


7 


3 har. twill. 


77 


6 


7 har. twill. 


117 


8 




68 


7 




100 


9 




60 


8 




88 


10 




64 


9 




78 


11 




49 


10 




70 


12 




45 


11 




64 


7 


4 har. twill. 


86 


12 




59 


8 




75 


6 


8 har. twill. 


120 


9 




64 


7 




103 


10 




ffO 


8 




90 


11 




65 


9 




80 


12 




50 


10 




72 


7 


5 har. twill. 


92 


11 




66 


8 




80 


12 




60 


9 




71 








10 




64 








11 




58 








12 




54 









76 



TEXTILE DESIGNERS' 



CHEVIOTS. 



Oz. Weave. 


Dia. 


o«. 


Weave. 


DIa. 


6 


Plain cloth. 


70 


6 


5 har. twill. 


100 


7 




60 


7 




S6 


8 




52 


8 




75 


9 




46 


9 




67 


10 




42 


10 




60 


11 




38 


11 




55 


12 




35 


12 




50 


4 


3 har. twill. 


126 


7 


6 har. twill. 


89 


5 




101 


8 




78 


6 




84 


9 




69 


7 




72 


10 




62 


8 




63 


11 




57 


9 




56 


12 




52 


10 




50 


7 


7 har. twill. 


92 


11 




46 


8 




81 


12 




42 


9 


72 


4 


4 har. twill. 


140 


10 


65 


5 




112 


11 




59 


6 




93 


12 




54 


7 




' 80 


7 


8 har. twill. 


96 


8 




70 


S 




84 


9 




62 


9 




75 


10 




56 


10 


67 


11 




51 


11 


61 


12 




47 


12 


56 


14 




40 


14 


48 



TWEED DRESS GOODS G-4. 



Oz. Weave. 


Dia. 


Oz. 


Weave. 


Dia. 


8 


Plain cloth. 


68 


8 


7 har. twill. 


106 


9 




60 


9 




94 


10 




54 


10 




85 


11 




50 


11 




77 


12 




45 


12 




71 


8 


3 har. tAvill. 


82 


8 


8 har. twill. 


109 


9 




73 


9 




97 


10 




66 


10 




87 


11 




60 


11 




80 


12 




55 


12 




73 


8 


4 har. twill. 


98 








9 




80 








10 




72 








11 




65 








12 


1 


60 

1 


• 







POCKET MANUAL,. 
TWEED DRESS GOODS— 6-4. 



77 



Oz. 


Weave. 


Dia. 


Oz. W^eave. 


Dia. 


8 


5 har. twill. 


96 








9 




86 








10 




78 








u 




71 








12 




65 








8 


6 har. twill. 


102 








9 




91 








10 




82 








11 




74 








12 




68 




1 





COTTON OR SILK. 



1 
Oz . 1 Weave. 

1 


1 Dia. 


Oz. 


Weave. 


Dia. 


4 


Plain cloth. 


128 


5 


6 har. twill. 


154 


5 




102 


6 




128 


6 




85 


7 




110 


7 




73 


8 




96 


8 




64 


9 




85 


9 




57 


10 




77 


10 




51 


6 


7 har. twill. 


133 


4 


3 har. twill. 


170 


7 




114 


5 




136 


8 




100 


6 




113 


9 




89 


7 




97 


10 




80 


8 




85 


11 




73 


9 




77 


12 




67 


10 




68 


6 


8 har. twill. 


136 


4 


4 har. twill. 


184 


7 




117 


5 




147 


8 




102 


6 




123 


9 




91 


7 




105 


10 




82 


8 




92 


11 




74 


9 




82 


. 12 




68 


10 




74 


8 


9 har. twill. 


105 


5 


5 har. twill. 


147 


9. 




93 


6 




123 


10 




84 


7 


105 


11 




76 


8 




92 


12 




70 


9 




82 


14 


1 


eo 



7S 



TEXTILE DESIGNERS' 



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82 



TEXTILE DESIGNERS' 



WARP. DOUBLE CLOTH, SINGLE CLOTH FILLING. 

WORSTEDS. 


i 1 1 
Oz. Weave. IDia.l Warp. 1 Filling. 

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POCKET MANUAL. 



83 



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CHAI*TER V. 

Instructions and Suggestions Pertaining to 
Various Fabrics and Yarns. 

BINDING TWO OR MORE FABRICS. 

When binding a double cloth or half 
back, raise one of the back warp threads 
when a face thread is up on each side of 
it, i. e., between two face risers when 
a face pick is going in, so that the face 
warp threads may cover the binder. 

In 3-ply, raise a back warp thread be- 
tween two middle risers when middle pick 
is going in, and a middle warp thread be- 
tween 2-face risers when a face pick is 
going in; should you, "owing to the 
weave," not be able to have a riser on 
each side, have at least one, although it 
will sliow an imperfection without two or 
more. 

When putting on a filling back, drop 
one of your warp threads or rather leave 
one down, which was already down wnen 
the back pick goes in, and if possible, it 
should remain down for the next face, 
i. e., it should remain down for at least 
three picks, the middle pick being tHe 
backing. 

CUTTING. 

When making diapers or herring bones 
always have a clean cut where the twill 
i.s reversed, i. e., have risers opposite 
silnkers; same in combination weaves; 
if not clean cut they look and are imper- 
fect. 

WIDTHS TO SET WARPS IN LOOM. 

Worsteds with worsted filling, 31 to 33" 

Worsteds with cotton filling, 29 to 31" 

Worsteds with wool filling, 32 to 34" 

All wool cassiraeres, 36 to 38" 

Wool and shoddy cassimeres, 35 to 37" 
Wool and shoddy and cott. cassimeres, 34 to 36 " 

Tweeds, all wool, 34 to 36" 

Cheviots, all wool, 33 to 35" 

Cheviots, wool and shoddy, 33 to 34" 

Dress goods, 6-4. 62 to 65" 

Unions, 34 to 37" 

Cotton, 28 to 30" 

It is difficult to give exact rules as to set- 
ting warp in reeds, as the stock and the 
weaves vary so, and the state of the mar- 
ket often demands changes. Some sea- 
sons a slazy fabric is in demand when less 
felting is required, and therefore they 



86 TEXTILE DESIGNERS' 

don't require to be set wide in loom; 
other seasons the reverse is the case, but, 
as a general thing", the above widths will 

be found satisfactory. 

TABLE OF YARN RATES. 
Basis of rates in the following tables: 

1 run woolen (U. S.) equals 1,600 yards per lb. 

of 16 oz. 
1 cut woolen (TT. S.) equals 300 yards per lb. 

of 16 oz. 
1 cut woolen (Scotch) equals 300 yards per lb. 

of 24 oz. 
1 skein woolen (Yorkshire) equals 256 yards per 

lb. of 16 oz. 
No. 1 worsted equals 560 yards per lb. of 16 oz. 
No. 1 cotton equals 840 yards per lb. of 16 oz. 
No. 1 silk equals 840 yards per lb. of 16 oz. 
No. 1 linen equals 300 yards per lb. of 16 oz. 

TABLE NO. 1. 

To bring worsted numbers to woolens runs, 
multiply by 7 and divide by 20. 

To bring worsted numbers to cotton numbers, 
multiply by 2 and divide by 3. 

To bring worsted numbers to cuts (United 
States), multiply by 28 and divide by 15. 

To bring worsted numbers to cuts (Scotch), 
multiply by 14 and divide by 5. 

To bring worsted numbers to skeins (York- 
shire), multiply by 35 and divide by 16. 

Sillc is the same as cotton, and linen 
same as cuts (United States). 

TABLE NO. 2. 

To bring woolen runs to worsted numbers, 
multiply by 20 and divide by 7. 

To bring woolen runs to cotton numbers, mul- 
tiply by 40 and divide by 21. 

To bring woolen runs to cuts (U. S.), multi- 
ply by 16 and divide by 3. 

To bring woolen runs to cuts (Scotch), multi- 
ply by 16 and divide by 2. 

To bring woolen runs to skeins, multiplv by 25 
and divide by 4. 

TABLE NO. 3. 

To bring cotton numbers to worsted numbers, 

multiply by 3 and divide by 2. 
To bring cotton numbers to woolen runs, mul- 
tiply by 21 and divide by 40. 
To bring cotton numbers to woolen cuts (United 

States) multiply by 14 and divide by 5. 
To bring cotton numbers to woolen cuts 

(Scotch), multiply by 21 and divide by 5. 
To bring cotton numbers to skeins, multiply by 

105 and divide by 32. 



POCKET MANUAL. 87 

TABLE NO. 4. 

To brins cuts (U. S.) to worsted numbers, 
multiply by 15 and divide by 28. 

To bring cuts (U. S.) to cotton numbers, mul- 
tiply by 5 and divide by 14. 

To bring cuts (U. S.) to woolen runs, multiply 
by 3 and divide by 16. 

To bring cuts (U. S.) to woolen cuts (Scotch), 
multiply by 3 and divide by 2. 

To bring cuts (U. S.) to woolen skeins, mul- 
tiply by 75 and divide by 64. 

TABLE NO. 5. 

To bring cuts (Scotch) to worsted numbers, 
multiply by 10 and divide by 28. 

To bring cuts (Scotch) to cotton numbers, mul- 
tiply by 10 and divide by 42. 

To bring cuts (Scotch) to woolen runs, multi- 
ply by 2 and divide by 16. 

To bring cuts (Scotch) to woolen cuts (U. S.), 
multiply by 2 and divide by 3. 

To bring cuts (Scotch) to woolen skein, multi- 
ply by 25 and divide by 32. 

TABLE NO. 6. 

To bring skeins (York.) to worsted numbers, 
multiply by 16 and divide by 35. 

To bring skeins (York.) to cotton numbers, 
multiply bv 32 and divide by 105. 

To bring skeins (York.) to woolen runs, multi- 
ply by 4 and divide by 25. 

To bring skeins (York.) to cuts (U. S.), multi- 
ply by 64 and divide by 75. 

To bring skeins (York.) to cuts (Scotch), mul- 
tiply by 32 and divide by 25. 

SIZE OF YARNS WHEN TWO OR 
MORE ARE LAID TOGETHER. 

Rule to find the mean size of yarn when 
two or more are laid together: 

Divide the highest number by itself, 
and by all the others, then by the difCer- 
ent answers added, the answer will be 
the mean size. 

EXAMPLE. 

1 thread of 8 run; 8 -f- 8 1 
1 thread of 4 run; 8 -f- 4=2 
1 thread of 2 run; 8 -t- 2=4 

7 I 8 

1 1-7 run, mean size. 

SHRINKAGE AND SIZE OF TARNS 
WHEN TWISTED TOGETHER. 

To find shrinkage and size when twisted 
together, knowing the size of each of the 



8S 



TEXTILE DESIGNERS' 



Single yarns before twisting. Find the 
yards per oz. after twisting, which multi- 
ply by 16 to bring to lbs,, and divide the 
answer by the size of each of the single 
threads separately; the result will be 
the number of oz. of each if laid straight; 
add them all together and substract from 
16, i, e., one lb., the answer will show 
the shrinkage, by adding two ci- 
phers to said answer and divi- 
ing by 16 the percentage will be found 
which being added to the yarn will give 
the amount of singile required for one lb. 
of twist. , 

EXAMPLE. 

The above three threads after being 
twisted give 88 yards. 
Per oz. 88 

16 oz. 



Run 8 I 1,408 yards per lb. 

1.76 oz. of 8 run. 
Run 4 I 1,408 Run 2 



1,408 



3.52 oz. of 4 

1,600 
1,230 


run. 


702 oz. 

352 

176 


of 2 


run. 


16 1 3,700 




12.30 






23 per 

1,600-1,230—1,600 
16 


cent 


shrinkage. 






1,230 1 25,600 





2,080 amt. single yarn required for 1 
lb. twist. 

SAMPLE OF RANGE TICKET. 

D. MANUFACTURING CO. 

Date, Sept. 4, 1895. 
Range, 1800. Picks, 40. Length, 6 yards. 

Threads, 1,440. Width, 36. 

Weight, . Reed, 10-4. Weave, Al. 



Warp Pattern. 



Filling Pattern. 



101 


4 


102 


4 


118 


4 


103 


4 


101, 114 




102, 105 




101, 115 




102, 105 




101, 116 




102, 106 




101, 112 




102, 107 




101, 111 




102, 108 





POCKET MANUAL. 89 

EXPLANATION OF RANGE TICKET. 

As will be noticed in the range ticket 
just given, the colors are represented by 
nunjbers instead of names, as being both 
a saving of space and labor; the designer 
should have a yarn book with pods of all 
his different stocks and colors, with the 
numbers alongside, according to the 
stock, i. e., suppose you have twenty 
colors of No. 1 sitock. Call j^our firs*^ 
color 101; second, 102; third, 103, and so 
on, doing the same in the other stocks, 
as No. 2 stock will begin 201, No. 3 stock, 
301, and so forth so that the first figure 
of each designates the stock, and the 
last figure denotes the color. So in num- 
bering your ranges let the first figure 
represent the stock, and the second fig- 
ure the weight, as 1,700 -will stand for 
No. 1 stock, 7 ounces; 1,800, No. 1 stock, 
8 02., and so on; 2,800 will signify 8 oz. 
in No. 2 stock; 3,900 shows that the fab- 
ric is 9 oz.. No. 3 stock, etc., the last 
figure .iust being altered to show the 
range number, as 1,800, 1,801, 1,802, etc. 
Shfuld you make more than 100 ranges 
of the one stock, when you come to the 
100 mark as you can't change 1,700 into 
1,800 with mixing your 708 oz. ranges, 
you add another cipher, as i7,001. 17,002, 
and so on. 

When each range comes out of loom 
it should be brought 'to the design room 
at the sam^e time bringing the ticket, 
which ticket after marking weight out 
of loom in place designated for that pur- 
pose should be filed, keeping the different 
stocks on separate files if possible; at any 
rate arranging them systemiatically so 
that they can be quickly found when 
wanted. 

How to find weight out of loom and 
length to which to full to get weight 
required when finished, find the weight 
of range in ounces, which multiplied by 
36 and divided by its length in inches will 
give the weight per yard. 
EXAMPLE. 

Range weighs 26 ounces out of loom; 
measures 70 inches. 
26 oz. 
36 

70 ! 936 



13 26-70 oz. per yard. 



•90 TEXTILE DESIGNERS* 

To find length to finish, multiply the 
ounces by 36 as before; deduct, if in 
grease, 20 per cent for clear finish, and 
15 per cent for natural finish; if clean, 
10 per cent and 7 per cent, and divide 
the remainder by weight wanted, the 
answer will be length to full. 

EXAMPLE. 

26 oz. 
36 

936 

186 equals 20 per cent for l<^s. 

oz. 12 I 750 

62V^ inches finished. 
26 oz. 
3. 

936 
93 equals 10 per cent clean shrinkage. 

oz. 12 I 843 

70% inches finished, being natural length. 

FINISHING CASSIMERE RANGES. 

After being fulled to the required 
width and length and thoroughly washed, 
raise on dry gig, 1. e., with the range 
wet the way of the warp, then give it 
a few up and down runs on a wet gig, 
**i. e., having a perforated pipe throwing 
a stream of clear water on the piece" to 
clean it out Next extract, then dry and 
shear; after shearing, run over steam 
brush, hot press and steam. 

FINISHING WORSTED RANGES. 

Scour with fine soap, rinse, wasn thor- 
oughly first with luke-warm ard then 
cold water, run 30 minutes through 110 
degrees of clear water on crabber^ gig a 
little on blunt teasels, dry and give a 
few more runs on gig, then shear, ^-un 
over brush, hot press and steam, ivlt.h 
wool filling; they may be gigged a little 
more while wet. 

FINISHING LIGHT-WEIGHT 
WORSTED CLOAKING RANGES. 
Scour as above, extract, crab, roll and 
steam, dye, speck dye if necessary, wash 



POCKET MANUAL. 91' 

and extract; dry gig a little on face and 
back, burl, shear, brush on back. Press, 
look over, and steam on brush. 

HEAVY-WEIGHT WORSTED CLOAK- 
ING RANGES. 

Scour, extract, gig a little on face as- 
before and back, according to finish 
wanted. Crab with face inside; after 
crabbing, lift on to rolling frame and re- 
roll tightly, face out cover with several 
rolls of cotton, tying the cotton tightly 
at the ends, set the roll upright In steam 
box and steam for 15 or 20 minutes, then 
dye and speck dye. rinse and extract, run 
a few times over gig, then shear, run 
over steam brush back down, press face 
up with steam on, run over steam brush. 

TWEED RANGES 

should be treated the same as cassimeres, 
but shear only top instead of shearing 
close. 

CHEVIOT RANGES 

should be principally done in the falling 
stocks if possible. 

TWEED DRESS FABRICS 

should be run a short while in stock to 
soften them. 

MELTON RANGES. 

As a close fine felt is required on those 
goods, they are laid extra wide in loom, 
so as to allow for a large amount of full- 
lling (see rule for meltons) after beinef 
fulled to the requisite point (sometimes 
they are fulled in grease, and sometimes- 
scoured, which is preferable first). After 
being thoroughly scoured and rinsed, 
which is essential, especially for steam- 
finished fabrics, extract, then gig all one 
way with old work on wet gig; after gig- 
ging a while extract and crop (not dry- 
ing), then gig again and crop as before; 
if neces.sary, three times, so as to get 
the required effect; after the last crop- 
ping, run a few times over very blunt 
tea.^els, then steam and gig alternately 
until the necessary nap and lustre are 
attained, then extract and dry, then run 
over steam brush, then shear and press 
and steam. 



82 TEXTILE DESIGNERS' 

DIAMETERS OP^ COUNTS OF YARN. 

To find the diameters of the various 
counts of yarns multiply the yards con- 
tained in one pound of yarn hy its counts, 
and extract the square root of the prod- 
uct; the answer will be the diameter 
of the yarn, and show how many threads 
of that size will lie side by side in one 
inch. 

EXAMPLES. 

1 lb. 4 run yarn = sq. r't fi,400 = 80 diam. 

1 lb. No. 20 cot. y'n = sq. r't 16,800 = 4.10 dla. 

1 lb. No. 16 wor. y'n = sq. r't 8,960 =n'ly 95 d. 

1 lb. No. 28 cut y'n = iq. r't T.'.Oo = 86 104-lt;6d. 

To bring the diameter to runs, multiply the 
diameter by itself and divide by 16. 

To bring diameter to cotton numbers multiply 
by itself and divide by 840. 

To bring diameter to worsted numbers multiply 
by itself and divide by 560. 

To bring diameter to cuts (U. S.) multiply by 
itself and divide by 300. 

To bring diameter to cuts (Scotch) multiply by 
itself and divide by 450. 

To bring diameter to skeins (Yorkshire) multi- 
ply by itself and divide by 256. 

DIAMETER FOR DIFFERENT NUM- 
BER OF HARNESS. 

To find the diameter for different num- 
ber of harness and interlacers from any 
.given diameter: Multiply the given diam- 
eter by the number of harness and divide 
by the number of harness and interlacers 
required, then multiply the answer by 
the harness and interlacers and divide by 
the harness of the original diameter, the 
answer will be the new diameter to use. 

EXAMPLE. 
Diameter for 6-harness twill wanted; diameter 
for plain cloth 60 

6 harness and 2 int. 

S I 360 

45 
4 orig'l ham's and interlacers. 

orig'l h'rn's 2 | 180 

90 new dia. for 6 harness twill. 



POCKET xMANUAL. 93 

DIAMETER FOR VARIOUS WEIGHTS. 

To find different diameters for various 
weights in same weave: Multiply diam- 
eter of the weave used by its own weight 
and divide by the weight wanted, the 
answer will be the diameter required. 

EXAMPLE. 

80 dia. for 8 oz. in 4 harness twill cass. 
8 oz. 

oz. 7 I 640 

911/4 diam. for 7 oz. 

80 
8 oz. 

9 I 640 

71 diam. for 9 oz. 
10 I 640 12 I 640 

64 dia. for 10 oz. 53% dia. for 12 oz. 

RULES FOR FIGURE WEAVING. 

When using the single plain plan 231 on 
plate, first draw out any figure you want 
as shown in 232, then beginning at the 
lower left hand corner of figure go up the 
first bar and wherever there is a black in 
figure, put down the 4 squares marked B, 
and for the white in figure put down the 
4 squares marked W, no matter how 
many black or white, keep repeating on 
that color until the change; after first 
bar take the second and do the same 
until all the figure is done; then reduce 
your harness (see reducing). 

When using the double plain plan 248 
for every black in figure take 4 squares of 
the plan marked B. and for every white 
4 of the squares marked W, beginning on 
first bar of figure with 1 on plan and 
taking odd and even alternately going up- 
ward, but keeping in the black half while 
on black, and in the white while on white. 
Should the black or white end on an odd 
number, be sure and begin with an even 
on the next color, and if ending on an 
even begin on an odd; be sure when you 
are on the odd bars in figure that you 
keep on odd in nlan and vice v^rpa. th*^ 
first 2 bars of plan being odd and only 
representing 1 of figure. 



M TEXTILE DESIGNERtJ' 

• 

Plans 245, 261 and 264 are on the same 
principle as 24S, only in place of taking 4 
squares for each one of the figures, take 
16 squares for each one. 

258 and 238. are on the same principle as 
248, only in place of taking only 4 squares, 
take 9 squares for each one of the figure. 

242 is again on the same principle as 248, 
only take 9 squares and be sure and keep 
on the colors as marked, i. e., B, R, W, 
according as they come in your figure, 
also keep right with your odds and evens. 

251 is the same principle as 231, only take 
9 squares in place of 4. 

254 is the same as 251, only take It- 
squares in place of 4. 

All the plans are warp and filling pat- 
tern one and one with the exception of 
251 and 254, which are solid contrasting 
warp and filling. 

REDUCING HARNESS BY CROSS 
DRAWING. 

In reducing harness, as shown in 256 and 
257, the one being 24-harness straight draw 
the other being the same weave but re- 
duced to 12-harness and draw, take the 
first harness and write it down as in 257, 
putting 1 alongside for the first thread in 
draft, then take the second and put it 
down with the second thread in draft 
alongside; continue thus until j'ou come to 
one that is the same as one of those al- 
ready put down, when instead of writing 
down again simply put the draft number 
on the same line as the other thread in 
the draft, i. e., where one of the same 
kind has been already marked as shown 
in 257 where 13 of 256 being the same as 9, 
the thread in draft is put there, 14 is the 
.same as 10, 15 as il, 16 as 12, 17 as 5, 18 as 
() and so on as the bars being the same> 
by putting threads on those harness they 
must weave the fame. 

TRANSPOSITION OF WEAVES. 

There are a variety of ways in which 
weaves can be transposed, I here give the 
manner of the various transposition 
shown in plates. 

In transpositions 18, 19, 21, 22, 24, 25, 27, 
28, SO, 31, 33, 35, 36, 38, 39, 40, 42, 43, 44, 46, 47, 
48, 49. 50. 51, 53, 54, 55, 56, 58, 59, 60, they 
nre all transposed by taking first bar and 



POCKET MANUAL. 96 

the last, third and second, fifth and fourth 
and so on taking an odd and an even 
alternately. 

62, 63, 64, 65, 66, 69, 70, 72, 73, 74, 75, 76, 77 
are just transposed the same, only In 
place of taking the first and last bar and 
90 on, take the first and last harness. 
i. e., transposing upward instead of 
across. 81, 83, 85. 87. 89, 31, 93, 95, 97, 100 and 
101 are all transposed upwards taking all 
the odds first, then all the evens as 1, 3, 
5, 7, 2, 4, 6, and so on. 

In transposing the 2, 3 and 4 ply cloths, 
take one bar of each fabric across for 
the first transposition, and one harness of 
each upward for the second transposition, 
taking the second transposition from the 
first transposition and the first transposi- 
tion from the original weave. 

In transposing warp backs as in 162, 
163, take one of each fabric going up- 
wards. 

In filling backs, take one of each fabric 
going across. 

The above chapter concludes the 
publication of these chapters upon 
textile designing, which were begun 
In the American Wool and Cotton Re- 
porter of November 17, 1910. 



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HECKMAN 

BINDERY INC. 



^ JAN 90 



N. MANCHESTER, 
INDIANA 46962 



LIBRARY OF CONGRESS 



018 



534 124 



